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Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
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https://archive.org/details/ffoulkecollectioOOffou 


THE  FFOULKE 
COLLECTION  OF 
TAPESTRIES 


ARRANGED  BY 
CHARLE  S M’  FFOULKE 


NEW  YORK 
PRIVATELY  PRINTED 
MCMXIII 


Copyright,  1913 
by 

Frederic  Fairchild  Sherman 


THE  GETTY  CE 
LIBRARY 


CHARLES  MATHER  FFOULKE 


CHARLES  MATHER  FFOULKE 


HARLES  MATHER  FFOULKE  was  born 
July  25,  1841,  in  Quakertown,  Bucks  County, 
Pennsylvania.  His  native  town  was  an  early 
settlement  of  Friends,  made  under  tbe  guidance 
of  William  Penn.  Edward  Ffoulke,  tbe  first 
American  of  tbe  name,  came  from  ales  and 
iiS  settled  in  Gwynedd  in  1698;  and  Hugb,  bis  son, 
went  to  Quakertown  in  1712,  receiving  a grant  of  land  from  Jobn, 
a brother  of  William  Penn.  Tbe  portion  of  tbe  land  on  wbicb  tbe 
old  homestead  stands  is  still  owned  by  tbe  family.  Edward  Ffoulke 
wrote  bis  name  as  bis  ancestors  bad  done,  with  tbe  two  f 's,  but  bis 
descendants,  for  tbe  sake  of  convenience,  gradually  dropped  one  f ; 
later  some  members  of  tbe  Ffoulke  family,  including  tbe  subject  of 
this  sketch,  resumed  tbe  old  spelling. 

Benjamin  Green  Foulke,  tbe  fifth  generation  from  Hugb,  in  1837 
married  Jane  Mather.  Of  their  six  children,  Charles  Mather,  tbe 
second  son,  is  tbe  subject  of  this  sketch.  He  and  bis  brother.  Job 
Roberts,  were  nearly  of  tbe  same  age  and  were  closely  attached  to 
each  other  through  life. 

Charles  was  a pupil  in  tbe  Friends  school,  at  Quakertown,  until 
be  was  sixteen  years  old.  He  thus  passed  bis  boyhood,  attending 
school,  going  regularly  to  tbe  service  in  tbe  Friends’  Meeting  House, 
working  on  tbe  farm,  studying  and  reading  by  candledight  late  into 
tbe  night.  Tbe  effect  of  this  association  with  tbe  Friends  no  doubt 
left  its  impress  in  purity  of  thought  and  action,  and  in  self  restraint, 
quiet  dignity  and  endurance,  wbicb  bis  life  exempfified  in  a marked 
degree. 

He  then  attended  boarding  school  one  year  at  Gwynedd,  and  afi 
terwards  went  to  tbe  Friends  Central  High  School  in  Philadelphia. 
Aaron  B.  Ivins,  a severe,  although  brilKant,  master  was  in  charge  of 


5 


tills  school.  Here  the  ambitious,  studious  and  welbread  country  hoy 
advanced  rapidly  in  the  absorption  of  knowledge.  He  had  a reten= 
tive  memory  and  never  lost  what  he  acquired. 

Directly  after  leaving  school,  impelled  by  his  interest  in  the  beaus 
ties  of  nature,  he  studied  the  native  flowers  and  birds,  and  contribz 
uted  forty  articles,  entitled  “Rambling  Notes  of  a Florist,”  to  the 
Germantown  Telegraph. 

In  i860  he  was  made  principal  of  the  Friends  School  in  Quakers 
town.  The  fact  that  he  filled  this  position  acceptably  at  the  age  of 
nineteen,  when  many  of  his  pupils  were  older  than  he,  is  strong 
proof  of  his  merits. 

Benjamin  G.  Foulke,  who  was  a conveyancer  and  a director  in 
the  Doylestown  Bank,  had  entrusted  to  him  by  the  North  Pennsyls 
vania  Railroad  the  problem  of  securing  its  right  of  way  through  the 
farms  of  Dutch  settlers.  His  son  Charles  participated  with  him  in 
making  surveys  and  in  the  preparation  of  deeds  for  this  important 
work. 

When  Fort  Sumter  fell,  April  14, 1861,  it  was  a hitter  disappoints 
ment  to  Charles  Ffoulke  that  the  tenets  of  the  Friends  and  the  exs 
press  commands  of  his  father  prevented  his  joining  the  Union  army. 

In  the  autumn  of  1861  he  took  advantage  of  a good  business  ops 
portunity  to  undertake,  with  Mr.  Henry  C.  Davis,  a venture  into 
the  wool  business.  This  venture  was  enormously  successful.  In  a 
few  years  there  was  a further  combination,  and  in  1869  the  parts 
nership  was  continued  under  the  name  of  Davis  and  Ffoulke. 

For  ten  years  he  was  actively  engaged  in  this  business  career. 
His  work  was  not  the  dull  routine  of  the  office.  From  the  first,  as 
the  buyer  of  the  firm,  he  went  west  to  obtain  wool  from  the  great 
farms  and  ranches  where  the  sheep  were  raised.  His  labors  carried 
him  from  the  Mississippi  river  to  the  Pacific  coast.  Traveling  in 
those  days,  in  that  part  of  the  country,  was  not  accomplished  in 
comfortable  Pullman  coaches  and  fast  automobiles  with  luxurious 
hotels  as  resting  places.  The  communication  between  ranches  was 
occasionally  by  the  old  stage  coach,  most  frequently  on  horseback, 
or  in  buckboard.  Rest  was  secured  in  some  wayside  inn,  shanty  or 
tent,  and  sometimes  on  the  open  prairie.  It  was  necessary  to  carry 
large  sums  of  money,  usually  in  a concealed  belt,  as  banks  and 
checks  were  not  available  and  cash  was  required.  This  added  much 


6 


to  the  excitement  and  danger  of  his  journeys.  For  protection  and 
company  he  often  rode  with  the  ranchmen  and  cowboys,  and  the 
quaintness,  breadth  of  view,  honesty,  courage  and  innate  poetry  of 
many  of  them  were  a source  of  interest  and  pleasure  to  him. 

Mr.Ffoulke’s  business  career  of  ten  years  was  phenomenal  when 
we  consider  his  previous  life  of  a student,  devoted  to  literature.  His 
mental  trend,  energy  and  capacity  brought  to  bear  upon  business 
problems  soon  made  him  master  of  details  as  well  as  of  the  more 
important  and  greater  principles ; these,  combined  with  his  insight 
into  character,  his  judgment  of  men  and  his  honesty  in  dealing,  gave 
him  large  credit  and  success  in  his  business  ventures. 

This  life,  carried  on  through  fair  weather  and  storm,  in  danger  and 
trial,  under  much  mental  strain,  was  too  great  a demand  even  upon 
his  fine  physique.  At  that  time  he  contracted  rheumatic  gout,  with 
which  he  battled  nobly  for  the  rest  of  his  life.  On  this  account  he 
found  it  necessary  to  give  up  his  business  in  1872.  He  then  sailed  for 
Europe. 

It  was  during  the  year  1872  that  an  event  in  his  life  occurred 
which  had  a most  important  influence  over  his  future  career  as  an 
art  lover  and  connoisseur.  In  December  he  married  Sarah  Cush? 
ing  of  New  York.  Miss  Cushing  was  descended  from  Judge  Abel 
Cushing  of  Boston,  and  was  the  daughter  of  Horace  Cushing. 
When  a child  Miss  Cushing  was  thrown  into  an  artistic  atmos? 
phere,  and  was  placed  in  the  studio  of  Mr.  Lazarus,  a noted  portrait 
painter  of  that  period,  with  the  intention  of  preparing  for  an  artist’s 
career.  She  was  an  orphan,  traveling  in  Europe  with  an  aunt  and 
uncle,  when  she  married  Mr.  Ffoulke.  The  young  wife,  with  her 
knowledge,  her  enthusiastic  love  and  admiration  of  the  old  masters, 
naturally  opened  up  a new  world  to  the  young  student  and  business 
man.  They  lingered  and  studied  on  the  canals  in  fairylike  Venice, 
in  the  great  galleries  of  Florence,  and  among  the  inspiring  churches 
of  Rome,  seeing  the  art  treasures  of  the  Old  World.  He  did  not  rest 
content  until  he  had  gained  a thorough  knowledge  of  the  great 
masters,  imbibing  information  of  their  fives  and  the  qualities  of  their 
work.  At  the  same  time  he  acquired  a good  working  knowledge  of 
French,  German  and  Italian. 

Thus  for  two  years  theyjourneyed  through  Europe,  Mr.  Ffoulke 
making  a systematic  study  of  the  fine  arts,  and  keeping  a journal  of 


7 


his  impressions  of  what  they  saw  in  France,  Germany,  Italy  and 
England. 

They  returned  to  America  in  1874,  and  resided  in  Philadelphia, 
where  Mr.  Ffoulke  for  another  ten  years  devoted  his  energies  to 
business. 

But  the  seed  planted  in  1872  had  been  maturing.  Upon  his  first 
visit  to  Europe  he  had  felt  that  he  was  not  justified  in  acquiring  the 
art  treasures  he  coveted  and  had  confined  his  purchases  to  bronzes 
and  small  objects  of  vertu.  The  call  of  art  and  the  desire  to  have  as 
his  own  some  of  its  treasures  became  so  insistent  that,  in  July  of 
1884,  he  went  to  Europe,  with  the  intention  of  devoting  himself  to 
this  study  for  several  years. 

His  family,  consisting  of  his  wife  and  children,  Horace  Cushing, 
Helen  Seagrave,  Gladys  and  Gwendoline,  made  their  home  in  Nice, 
France.  Here  they  spent  the  winter  months,  traveling  and  studying 
during  the  summer.  His  knowledge  was  sorted  and  sifted  through 
his  intercourse  with  distinguished  and  brilliant  foreigners,  with 
whom  he  was  thrown  as  a member  of  the  club,  “Cercle  Mediter* 
ranee."  The  earthquake,  which  was  felt  along  the  Riviera  in  1887, 
strongly  manifested  itself  in  Nice.  This,  while  having  no  apparent 
effect  upon  his  life,  was  one  of  the  unknown  events  leading  to  great 
results,  as  it  caused  the  Ffoulkes  to  remove  from  Nice  to  Florence, 
Italy,  where  in  the  Tapestry  Museum,  his  art  knowledge  began  to 
specialize  upon  tapestries.  Mrs.  Ffoulke’s  desire  to  purchase  tapes* 
tries  from  a friend  before  leaving  Nice,  was  another  apparently 
trivial  event  leading  to  his  life  work. 

His  wish  to  please  his  wife  led  him  into  a systematic  and  thor* 
ough  study  of  this  branch  of  the  fine  arts.  He  spent  a great  part  of 
his  time  in  the  museum,  where  a large  collection  of  tapestries  was 
arranged  in  chronological  order,  an  arrangement  best  adapted  for 
the  study  of  variations  in  periods  and  manufactures.  Form  and 
color  had  always  appealed  to  his  imagination  and  in  nothing  was 
this  expressed  more  subtly  than  in  the  soft  harmonious  textiles 
which  he  found  so  artistically  displayed  in  this  museum.  History 
had  always  appealed  to  his  intellect,  and  each  tapestry  had  some* 
thing  interesting  to  unfold,  either  in  the  traditions  of  the  gods,  in  the 
stories  of  the  Bible  or  in  the  facts  of  history.  Mankind  had  always 
been  one  of  his  interests  and  therefore  tapestries,  where  hints  on  the 

8 


costumes,  manners  and  customs  of  many  peoples  and  periods  were 
to  be  found,  especially  appealed  to  Kim. 

The  love  of  tapestries  soon  became  a serious  study  and  an  absorb* 
mg  interest,  which  grew,  flourished  and  remained  dominant  to  the 
end  of  his  life. 

It  was  at  this  time  that  he  became  a friend  of  the  Italian  Court 
painter.  Professor  Michels  Gordigiani,  and  through  him  made  the 
acquaintance  of  Giuseppe  Salvadori,  an  enthusiastic  collector  and 
marvelous  repairer  of  textiles.  His  association  with  Mr.  Salvadori 
and  his  own  study  widened  his  experience  and  gave  him  a thorough 
knowledge  of  the  materials,  looms,  colors  and  methods  of  weaving 
at  different  periods. 

His  art  studies  and  his  growing  reputation  gave  him  access  to 
many  homes  in  Paris,  where  he  acquired  a knowledge  of  that  coun* 
try’s  artistic  expression  in  textiles,  but  his  preference  for  the  Flem* 
ish  weaves  remained  steadfast. 

In  Munich  he  made  his  first  valuable  purchase,  a set  of  Flemish 
tapestries,  historically  important  and  rich  in  gold  and  silver. 

In  1888  Mr.  Ffoulke’s  improved  health  permitted  him  to  return 
to  America,  and,  on  account  of  its  beauty  and  cosmopolitan  society, 
he  selected  Washington  as  his  residence. 

He  went  to  France  to  see  the  tapestries  and  textiles  brought  to* 
gether  by  the  French  Exposition  in  1889,  and  remained  for  some 
months  in  Europe,  going  to  Italy  late  in  the  summer. 

He  had  not  succeeded  in  securing  a set  that  his  ideals  demanded, 
but  his  desire  was  about  to  be  realized,  for  while  in  Rome  he  was 
presented  by  a friend  to  the  Princess  Barberini  and  was  offered  an 
opportunity  to  examine  the  great  Barberini  collection  of  tapestries, 
many  pieces  of  which  had  been  stored  for  over  thirty  years.  Every 
courtesy  was  extended  to  Mr.  Ffoulke  in  order  that  he  might  make 
a careful  study  of  these  tapestries.  The  series  depicting  “Dido  and 
Aeneas,”  and  “Judith  and  Holofernes”  pleased  him  best,  and  he 
made  an  effort  to  obtain  them.  He  soon  found  that  the  Barberini 
family  would  part  with  the  collection  only  as  a whole.  The  oppor* 
tunity  to  acquire  these  art  treasures — an  opportunity  not  presented 
once  in  many  lifetimes — combined  with  the  charm  and  artistic  quali* 
ties  of  the  collection,  overcame  his  fear  of  being  rash  and  he  pur* 
chased  the  entire  collection  of  one  hundred  and  thirty*five  pieces. 


9 


These  tapestries  are  among  the  most  notable  in  the  world.  They 
were  designed  by  celebrated  artists,  and  are  harmonious  in  color  and 
accurate  in  drawing.  Woven  in  the  best  looms,  their  workmanship 
displays  the  highest  skill,  their  beautiful  colors  are  from  the  most 
lasting  dyes  and  the  web  and  woof  of  the  best  materials.  Luca  Hob 
stenio  describes  in  a rare  manuscript,  preserved  in  the  family  ar? 
chives,  the  tapestries  which  Louis  XIII  presented  to  Cardinal  Bar? 
berini  when  the  Cardinal  was  attending  the  Court  of  France  as  am? 
bassador  from  Pope  Urban  VIII  to  the  convention  on  the  peace 
of  Europe. 

The  larger  number  of  these  tapestries  are  of  the  Flemish,  French 
and  Roman  schools.  Many  are  signed  by  the  master  weaver,  and 
some  have  the  name  of  the  artist  who  prepared  the  cartoons.  Among 
the  weavers  of  these  tapestries  are  the  noted  names  of  Willem  de 
Pannemaker,  Henri  Rydams  and  Everard  Leyniers ; others  are  from 
the  ateliers  of  the  Gobelins  and  Aubusson.  When  Urban  VIII  was 
upon  the  papal  throne,  a manufactory  of  tapestries  was  established 
in  the  Barberini  palace.  In  this  factory,  about  1630,  was  woven  the 
“Dido  and  Aeneas”  series.  Before  the  collection  left  Italy  the  tap? 
estries  were  stamped  by  the  government  and  had  affixed  to  them 
the  seal  of  the  Royal  Galleries  of  the  Uffizi  as  grand  (highest  grade) 
objects  of  art. 

This  collection  was  too  great  even  for  the  large  gallery  Mr. 
Ffoulke  had  prepared  for  them  in  V/ ashington,  and  he  gave  a few  of 
his  friends  in  this  country  the  opportunity  of  acquiring  some  of  the 
series.  They  were  quick  to  avail  themselves  of  his  offer.  The  “Dido 
and  Aeneas”  series  and  “Judith  and  Holofernes”  series  were  sent  to 
Washington.  The  largest  set,  illustrating  the  life  of  Christ,  was 
obtained  for  the  Cathedral  of  Saint  John  the  Divine  by  Mrs.  Eliza? 
beth  U.  Coles  of  New  York,  who  considered  it  a privilege  to  present 
this  work  of  art  to  the  new  Episcopal  cathedral.  This  series  of  twelve 
pieces  was  hung  in  the  spring  of  1911  around  the  chancel  just  above 
the  high  altar  in  the  completed  choir  of  the  cathedral. 

This  acquisition  of  Mr.  Ffoulke’s  and  the  knowledge  and  good 
judgment  he  had  displayed  in  his  other  purchases,  made  him  a noted 
man  among  collectors  and  writers  on  textiles  as  well  as  with  direc? 
tors  of  tapestry  works  and  art  museums. 

The  association  with  these  men  on  his  numerous  trips  to  Europe 


10 


during  the  twenty  years’  residence  in  W ashington,  together  with 
their  respect  for  his  opinion  and  advice,  added  materially  to  his 
enjoyment  of  life.  He  spent  much  time  in  Paris,  making  intimate 
friends  of  Gerspach,  Director-General  of  the  Gobelins,  and  of  Jules 
Guiffrey,  who  succeeded  him,  both  writers  of  note,  the  latter  au- 
thor of  “The  History  of  French  Tapestries;”  of  Fenaille,  author  of 
“Tapestries  of  Gobelins  Manufacture,”  of  EugeneMiintz,  guardian 
of  the  Beaux-Arts  Library  and  author  of  “Italian  Tapestries;”  and 
of  Alphonse  W auters,  member  of  the  Royal  Academy  of  Belgium 
and  author  of  “The  History  of  Brussels  Tapestries.”  Letters  from 
many  of  these  authors  attest  their  high  appreciation  of  Mr.  Ffoulke’s 
labors  and  knowledge  on  the  subject  in  which  they  were  so  much 
interested. 

When  he  was  the  guest  of  honor  at  a dinner  given  in  Paris  by  the 
Director  of  the  Gobelins,  Mr.  Ffoulke  defended  Americans  against 
the  charge  of  poor  appreciation  of  art  by  relating  how,  during  the 
French  Revolution,  Mr.  Sadler,  an  American,  learning  that  the 
French  Directory  were  burning  tapestries  to  secure  the  gold  and 
silver  threads,  offered  to  purchase  five  of  the  pieces  so  as  to  preserve 
an  art  treasure,  but  hatred  for  the  nobles  prevented  him  from  ac- 
complishing his  purpose. 

Association  with  men  who  were  writing,  or  who  had  written, 
on  the  tapestries  of  their  respective  countries,  naturally  brought  to 
his  mind  the  need  of  a work  in  English  on  this  subject,  to  educate 
our  people  and  to  arouse  their  enthusiasm  for  one  of  the  noblest  and 
most  stately  forms  of decoration.  In  1892  he  determined  to  write  such 
a work,  hoping  to  bring  it  out  simultaneously  with  that  of  Fenaille  on 
the  Gobelins.  Entering  upon  this  great  undertaking  with  his  usual 
zeal,  energy  and  intelligence,  he  proposed  a work  in  three  volumes : 
first,  “The  History  of  Tapestries  from  the  Early  Copts  to  the  Pres- 
ent Day;”  second,  “AFull  Description  of  the  Barberini  Tapestries;” 
third,  “A  Description  of  the  Art  in  the  United  States  and  Famous 
Tapestries  Owned  in  this  Country.”  Although  he  worked  zealously 
for  seven  or  eight  years  collecting  materials,  and  in  writing  many 
sections  of  this  truly  monumental  work,  it  was  never  completed. 
A large  part  of  it  while  in  manuscript  was  accidentally  destroyed.  He 
bravely  started  again,  and  left  many  of  his  notes,  completed  descrip- 
tions and  criticisms  among  his  papers  at  his  death.  These  descriptions 


guided  by  tbe  monographs  and  lectures  left  by  him  have  been  pre? 
pared  with  intelligent  care  by  his  wife  to  be  published  in  the  present 
work.  He  published  monographs  on  the  “Judith  and  Holofernes,” 
the  “ Dido  and  Aeneas,”  and  the  “Life  of  Christ”  series. 

He  delivered  many  lectures  upon  the  subject  in  Washington, 
Chicago,  Boston  and  Philadelphia,  as  well  as  talking  to  small  audi? 
ences  in  private  houses.  In  these  lectures  he  condensed  a vast  amount 
of  information,  relating  to  the  weaves,  the  styles  of  periods  and  coun? 
tries,  the  methods  of  making  cartoons,  the  noted  weavers,  and  the 
interesting  history  of  individual  tapestries. 

In  his  efforts  to  give  the  people  this  educative  pleasure  he  was 
generous  in  loaning  his  tapestries  for  public  exhibitions,  as  at  the 
Cosmos  Club,  and  the  Corcoran  Gallery  ofArt,  where  noted  exhibi? 
tions  were  held,  composed  largely  of  selected  examples  from  his 
collections. 

His  social  life  in  Washington  was  full  of  pleasure  to  him  and  his 
friends.  His  brilliant  mind,  long  study,  extensive  travel,  and  world? 
wide  association  with  intellectual  and  artistic  people,  gave  those 
with  whom  he  had  personal  relations  both  pleasure  and  profit.  He 
was  for  a number  of  years  President  of  the  Chevy  Chase  Club  of 
W ashington,  and  a member  of  the  Metropolitan  and  Cosmos  Clubs. 

Men  of  letters,  noted  artists,  and  people  of  culture  found  their 
way  to  his  tapestry  room,  whether  they  lived  in  Washington, 
came  from  other  cities,  or  were  visiting  our  country  from  Europe. 

Here,  too,  Mrs.  Sherwood  gave  her  charming  talks  during  two 
winters,  and  the  National  Art  Society  held  many  of  its  meetings. 

He  was  also  most  generous  in  throwing  it  open  to  art  societies 
when  meeting  in  the  capital.  In  this  way  the  American  Institute  of 
Architects  and  the  Architectural  League  of  America  were  tendered 
receptions.  This  was  much  to  their  advantage  and  improvement,  as 
no  other  room  existed  in  this  country  so  admirably  decorated. 

He  was  most  earnestly  active  in  his  efforts  to  secure  the  entry 
of  art  treasures  free  of  duty  and  with  Kate  Field,  Mrs.  Calvin  Brice, 
and  others,  made  zealous  attempts  to  have  this  measure  for  the  edu? 
cative  good  of  our  country  made  a law.  Although  they  were  not 
successful  at  this  time  their  efforts  had  effect  as  one  of  the  levers 
which  secured  the  needed  legislation  for  our  people  in  a recent  act 
of  Congress. 


12 


In  1904,  much  broken  in  health,  Mr.  Ffoulke  again  went  abroad 
with  his  wife,  daughter,  and  youngest  son.  After  spending  some 
time  in  France  and  Italy,  they  wintered  in  Egypt.  This  was  his 
first  visit  to  the  land  of  the  earliest  civilization  and,  although  suffers 
ing  and  weak,  he  enjoyed  his  journey  on  the  Nile.  He  was  delighted 
with  the  unexcelled  opportunity  to  see  and  study  in  the  Gizeh 
Museum  the  wonderfully  fine  old  Egyptian  weaves  which  were 
executed  on  principles  similar  to  those  used  in  the  Gobelins  at  the 
present  day.  These  fragments  of  quaintly  and  beautifully  decorated 
linen  garments,  still  holding  their  bright  colors,  are  the  earliest  exists 
ing  examples  of  weaving,  being  more  than  three  thousand  years  old. 

It  was  during  this  last  journey  in  Europe  that,  at  the  request  of 
the  King  of  Belgium,  some  of  Mr.  Ffoulke’s  Flemish  tapestries  were 
loaned  for  the  Exposition  in  Brussels  (1905),  where  they  were  highly 
appreciated,  and  their  owner  was  shown  much  courteous  attention. 

Before  returning  to  America  in  1905,  Mr.  Ffoulke  added  materis 
ally  to  his  already  great  collection,  by  purchases  made  in  France 
and  Italy. 

Having  thoroughly  studied  the  subject,  he  realized  that  France 
reaped  enormous  profits  from  her  art  industries.  He  was  anxious, 
therefore,  that  America  should  in  time  rival  her  in  this  respect,  as 
he  felt  that  his  countrymen  were  equally  capable,  provided  they 
could  have  the  advantage  of  equal  education  on  the  same  lines.  For 
this  reason,  he  not  only  greatly  desired  to  see  important  Industrial 
Art  Schools  established  in  America,  but  he  strenuously  urged  the 
necessity  of  obtaining  beautiful  artworks  from  the  Old  World  as  an 
important  factor  in  the  imagination  of  the  student  and  the  elevation 
of  his  taste.  Wuh  this  object  in  view,  he  took  an  earnest  interest  in 
the  National  Society  of  the  Fine  Arts,  a local  organization  formed  in 
Washington  in  1905.  He  was  tendered  and  accepted  the  Presi? 
dency  of  this  society  in  1906,  and  immediately  took  an  active  part 
in  its  efforts  to  interest  the  people  in  matters  of  beauty.  His  energy 
and  executive  ability,  knowledge  of  art,  and  endearing  social  qualk 
ties,  made  him  a strong  factor  in  the  city’s  development  in  accords 
ance  with  the  Park  Commission  plans.  He  forcefully  aided  in  such 
undertakings  as  parking  the  open  Rock  Creek  Valley,  locating 
appropriately  the  Grant  monument,  and  securing  a National  Fine 
Arts  Commission.  He  also  assisted  the  local  society  in  exhibitions. 


V/ithout  him  the  society  could  not  have  held  its  very  important 
tapestry  display  in  the  Corcoran  Gallery  of  Art.  He  encouraged 
lectures  on  all  branches  of  art  and  architecture.  Although  the  society 
was  national  in  name  from  its  form  of  constitution,  it  was  local  in 
effect.  It  was  his  ambition  to  extend  its  principles  and  have  associa* 
tions  from  all  parts  of  our  broad,  country  join  in  fostering  a love  and 
appreciation  of  the  fine  arts.  He  remembered  that  on  July  28, 
1892,  a charter  was  granted  by  Congress  to  a small  body  of  enthus 
siastic  people  to  establish  a National  Academy  of  Art.  Among  the 
charter  members  were  Kate  Field,  Arthur  McArthur,  Charles  M. 
Ffoulke,  Mrs.  Levi  P.  Morton,  Mrs.  Phoebe  Hearst,  James  J.  Hill, 
and  Mrs.  Bellamy  Storer.  The  charter  was  broad  and  under  it  many 
things  could  be  accomplished.  In  1908  Mr.  Ffoulke  determined  to 
bring  this  society  again  into  action,  and  by  correspondence  with  the 
small  number  of  charter  members  living,  it  was  agreed  to  meet  and 
elect  new  members.  This  was  done  and  in  the  new  organization 
Elihu  Root,  Henry  Cabot  Lodge,  Henry  Walters,  J.  P.  Morgan, 
Charles  L.  Freer,  F.  D.  Millet,  A.  J.  Parsons  and  V/.  E.  Curtis  were 
among  the  number  who  took  an  active  part  with  Mr.  Ffoulke  in  res 
viving  this  association.  The  charter  allowed  only  Regents  as  mem? 
bers,  and  one  of  the  first  steps  of  the  Academy,  in  accordance  with 
Mr.  Ffoulke’s  ideas,  was  to  organize  a Federation  of  Fine  Arts,  corns 
posed  of  chapters,  in  which  all  societies  with  artistic  aspirations, 
whether  of  architecture,  painting,  sculpture,  civic  improvement 
leagues,  or  landscape,  were  invited  to  join.  The  following  letter  to 
Mr.  Root  tells  of  the  scope  of  this  organization: 

“The  WLite  House,  Washington. 

April  30,  1908. 

My  dear  Mr.  Root  : 

I am  gratified  to  know  that  you  are  taking  an  active  interest 
in  the  movement  to  organize  a National  Federation  of  Art,  and 
shall  watch  the  progress  of  the  movement  with  sympathy.  I shall 
do  all  I can  to  promote  it  because  such  an  organization  can  be 
made  very  effective  for  good.  It  will  encourage  our  native  artists ; 
it  will  aid  in  the  establishment  of  galleries  and  schools  of  art;  it 
will  promote  municipal  art  leagues,  and  village  improvement 
associations ; it  will  encourage  higher  standards  of  architecture 


14 


for  our  public  edifices,  our  business  blocks,  and  our  homes;  also 
do  much  to  educate  the  public  taste. 

I am  glad  to  learn  that  it  is  proposed  to  hold  a convention  in 
W ashington  and  you  may  count  on  me  to  do  my  share  in  making 
it  a success. 

V ery  sincerely  yours, 

(Signed)  Theodore  Roosevelt. 

Hon.  Elihu  Root, 

Secretary  of  State.” 

The  Federation  was  successfully  organized  in  Washington,  May 
15,  1909,  just  a month  after  Mr.  Ffoulke's  death  at  the  Hotel  Mar? 
quis,  New  York,  April  14,  where  he  had  gone  for  treatment. 

His  efforts  in  this  field  were  successful,  as  the  Federation  is  grow? 
ing  in  power  and  usefulness,  and  through  its  influence  uplifting  the 
people  in  culture  and  morals  and  realizing  his  dream  of  leading  all  to 
a knowledge  of  art. 

It  was  in  working  with  him  as  an  architect  on  changes  in  his 
house  in  order  to  adequately  display  tapestries,  and  in  the  organiza? 
tion  of  these  societies  for  the  public  good  that  I was  thrown  inti? 
mately  with  him. 

Descended  from  sturdy  W elsh  ancestry,  whose  crest  was  a wolf’s 
head,  and  whose  motto  was  “Unconquerable,”  he  overcame  suffer? 
ing,  surmounted  difficulties,  and  did  not  succumb  to  family  sorrows ; 
his  spirit,  his  energy  and  mind  were  “unconquerable.”  Mr.  Ffoulke's 
later  life  was  a remarkable  illustration  of  the  power  of  mind  over 
matter — an  inspiration  to  the  strong,  and  an  encouragement  to  the 
weak.  Although  harassed  with  pain,  lame  and  often  physically 
helpless,  he  not  only  did  not  neglect  his  chosen  work,  but  he  took 
the  initiative,  and  followed  it  in  the  minutest  detail.  For  him  suffer? 
ing  and  infirmities  apparently  did  not  exist.  Forceful  and  influential, 
his  opinions  were  respected  and  widely  sought  by  those  efficient  in 
mechanical  detail;  by  those  astute,  quick  and  aggressive  in  business 
enterprises,  and  by  those  conspicuous  in  social,  artistic  and  scien? 
tific  circles. 

His  cheerfulness,  unselfishness  and  quick  sympathy  endeared 
him  to  the  hearts  of  many,  while  his  honesty  and  intolerance  of 


*5 


wrong  won  for  Kim  the  confidence  and  respect  of  all,  and  associa? 
tion  with  him  must  remain  a lasting  remembrance  with  everyone 
fortunate  enough  to  have  been  among  his  intimates. 

Glenn  Brown,  F.  A.  I.  A. 


16 


INTRODUCTION 


f 


INTRODUCTION 

HE  textile  arts  are  as  old  as  civilization  itself.  From  the 
time  man  was  able  to  model  a vessel  of  clay  be  became 
desirous  of  embellishing  it;  also  tbe  first  clotb  wbicb  tbe 
band  of  woman  produced  was  decorated.  Ornaments  of 
various  colors,  regularly  arranged,  appeared  on  looms  simultane? 
ously  witb  tbe  foundation  itself,  wbicb  was  tbus  varied;  there 
were  also  embroideries  on  linen  and  canvas,  but  for  want  of  ex? 
amples  and  precise  texts,  tbe  origin  of  tapestry  proper  can  not  be 
determined. 

Let  us  define  it:  Tapestry  is  a fabric  of  many  colors  representing  a 
definite  subject — a “story,”  in  fact — made  of threads  rolled  on  a chain 
stretched  horizontally  or  vertically  on  either  a low?  or  high?warp 
loom.  Tbe  result  is  tbe  same,  whichever  process  is  followed;  prefer? 
ence  was  given  to  one  or  tbe  other  during  certain  periods  and  in 
certain  manufactories  merely  for  technical  reasons,  and  tbe  use  con? 
tinued  through  habit  or  for  tbe  sake  of  tradition;  it  is  practically 
impossible  to  distinguish  tbe  two  kinds  of  tapestries,  and  we  can 
appreciate  them  perfectly  without  considering  this  question. 

No  proofs  of  tbe  existence  of  tapestry  weavers  in  Paris  or  in  tbe 
north  of  France  can  be  found  in  tbe  archives  before  tbe  end  of  tbe 
XIII  and  tbe  beginning  of  tbe  XIV  century.  Tbe  term  “arazzi,” 
wbicb  tbe  Italians  have  always  applied,  and  still  do,  to  tapestries, 
seems  to  prove  that  in  this  line  tbe  productions  of  Arras,  tbe  capital 
of  Artois,  were  at  least  tbe  best,  if  not  tbe  earliest.  Tbe  plains  of  tbe 
basin  of  tbe  Scheldt  were  ever  tbe  country  of  wool  and  clotb.  From 
tbe  Roman  period  weaving  flourished  here  and  stuffs  were  exported ; 
Arras  itself,  from  tbe  XII  century  on,  was  a center  of  wealth  and 
culture.  Tbe  Greeks  attributed  tbe  invention  of  artistic  weaving  to 
Pallas  Athena.  If,  following  their  example,  we  spoke  mytbologi? 
cally,  we  could  attribute  tbe  origin  of  tapestries  to  tbe  Countess 


Mahaut  of  Artois,  who  ruled  from  1302  till  1327;  without  doubt,  sbe 
favored  and  encouraged  tbe  development  of  tbis  industry,  indigenous 
to  ber  country,  and  it  is  certainly  due  to  ber  tbat  Arras  bad  tbe 
honor  of  giving  it  its  name. 

A painting  or  a fresco  images  directly  tbe  spontaneous  tbougbt 
of  a creator;  sucb  work  is  masculine.  Tapestry  compared  to  paints 
ing,  wbicb  it  imitates,  is  feminine.  It  is  tbe  re-execution,  tbe  transla- 
tion,  tbe  interpretation  of  tbe  tbougbt.  Tbe  light  wbicb  tapestries 
absorb  adds  mellowness  to  tbe  luster  of  their  soft  textures,  wbicb 
are  often  enriched  by  silk,  gold  and  silver.  Nothing  equals  tbe  charm 
of  their  exquisite  tones,  and  tbe  attractiveness  of  their  colors,  both 
magnificent  and  delicate,  like  tbe  flowers  wbicb  furnish  so  many 
of  their  splendid  borders  with  motives  infinitely  various  and  rich. 
“Tapestries  are  better  than  paintings,  they  seem  to  me  to  be  their 
dream,”  says  tbe  “Journal  des  Goncourt,”  an  impression  of  an  artist 
who  is  struck  with  admiration  by  tbe  delicate  faded  colors,  and 
whose  eyes  are  soothed  by  textures  shot  with  moonbeams  like  tbe 
robes  of  fairies. 

Tbe  celebrated  tapestries  of  Arras  are  far  removed  from  tbe  press 
ent.  Although  tapestries  have  deservedly  tbe  reputation  of  longer 
lives  than  paintings,  and  with  ordinary  care  will  last  hundreds  of 
years,  tbe  earlier  productions  were  roughly  bandied  and  passed 
through  numerous  vicissitudes,  and  many  of  them,  though  still 
delightful,  are  like  withered  flowers  and  obscure  music,  visions 
wbicb  fade  and  vanish.  Of  all  tbe  tapestries  wbicb  existed,  a corns 
paratively  small  number  have  withstood  destruction,  due  to  many 
causes : tbe  use  of  these  fragile  tissues  wbicb  were  continually  transs 
ported,  bandied,  bung  up  and  taken  down;  accidental  losses;  and 
carelessness  and  stupidity . We  have  a striking  example  of  tbe  latter 
in  tbe  fact  tbat  during  tbe  Directory  hundreds  of  tapestries  were 
burned  on  account  of  tbe  monarchical  emblems  on  them,  or  in  order 
to  extract  from  them  threads  of  precious  metal. 

If  we  seek  tapestries  of  Arras,  we  must  acknowledge  tbat  there 
exist  none  whose  origin  we  can  determine  with  entire  certainty. 
Tbe  authenticity  of  tbe  remarkable  banging  belonging  to  tbe  Cathe- 
dral  of  Tournay,  “Tbe  Life  of  St.  Fiat  and  St.  Eleuthere”  is  based 
on  an  inscription,  no  longer  apparent,  mentioned  by  an  author  of 
tbe  XVII  century. 


20 


W e know  of  but  two  tapestries  of  the  north  of  France  which  date 
certainly  from  the  XIV  century,  a period  which  nevertheless  was 
most  productive,  and  these  are  not  even  of  the  first  half  One  is  the 
Presentation  of  Jesus  at  the  Temple”  in  the  Musee  du  Cinquan? 
tenaire  at  Brussels,  the  other  is  the  immense  hanging,  the  “Apoc? 
alypse”  in  the  Cathedral  of  Angers.  We  know  who  ordered  this 
tapestry,  Duke  Louis  of  Anjou,  one  of  the  four  sons  of  King  John,  all 
of whom  were  great  admirers  of art ; when  it  was  woven,  about  1 380 ; 
who  furnished  the  cartoons  (something  rarely  mentioned  in  docu? 
ments),  John  of  Bruges,  painter  of  Charles  V,  brother  of  the  Duke; 
and  who  executed  the  work,  Nicolas  Bataille,  a famous  Parisian 
tapestry  weaver.  There  are  few  pieces  of  relatively  recent  times 
about  which  so  much  is  known  as  of  this  venerable  ancestor  of storied 
tapestries. 

Of  real  tapestries  in  Europe  older  than  these  there  are  only  a few 
German  specimens  whose  origin  cannot  be  determined.  It  seems 
as  if  Nuremberg  must  have  been  the  most  important  center. 

The  XV century  produced  a large  number  of  tapestries,  especially 
in  the  industrious  countries  governed  by  the  Dukes  of  Burgundy, 
who  were  extremely  rich  and  splendordoving.  Besides  Arras,  the 
principal  manufacturing  centers  were  Lille  and  Audenarde  in  Flan* 
ders ; (Bruges  exported  many  more  than  it  produced) ; Valenciennes, 
Mons,  Enghien  in  Hainaut,  Brussels  in  Brabant,  and  Tournay,  a 
French  settlement  in  Flanders.  Arras  was  in  the  lead  until  1477, 
when  it  was  taken  by  Louis  XI  and  its  artistic  industry  ruined. 

In  the  beginning  tapestries  were  movable  decorations,  used  to 
adorn  bare  walls,  to  divide  the  large  feudal  halls,  to  cover  doors,  to 
drape  over  beds,  to  decorate  the  tents  of  the  nobility  in  times  of  war, 
and  to  ornament  the  exteriors  of  houses  on  festival  days.  As  tapes? 
tries  were  often  floating  in  the  wind,  it  was  necessary  to  multiply 
the  figures  on  them,  to  pile  them  up  beyond  all  necessity  of  composi? 
tion  and  to  the  sacrifice  of  clearness  in  order  that,  no  matter  how 
many  folds  there  were,  or  how  the  cloth  fell,  the  eye  might  always 
be  delighted  by  the  view  of  a large  number  of  rich  costumes. 

Subsequently,  when  furnishings  grew  less  rare  and  more  stable, 
it  became  customary  to  hang  tapestries  permanently,  and  thus  to 
replace  frescoes  in  the  northern  countries  where  wall  paintings  were 
rare,  with  the  huge  framed  pictures  in  wool  which  they  became;  large 


21 


grounds  now  appeared  showing  much  detail  according  to  the  taste  of 
the  Flemish  painters;  attention  was  paid  to  atmosphere  and  per* 
spective  without  giving  them  exaggerated  importance,  and  the 
figures  were  logically  grouped. 

The  authors  of  cartoons  who  were  painters,  generally  specialists, 
but  painters  nevertheless,  no  longer  felt  the  necessity  of  treating 
tapestries  differently  from  paintings;  at  the  same  time  they  com 
served  their  decorative  characters  hy  the  use  of  clear,  bright  and 
luminous  colors  and  by  the  conspicuous  grouping  of  large  figures ; 
they  aimed  at  a general  effect  which  would  appeal  more  to  the  eye 
than  the  mind  and  avoided  using  the  obscure  lines  and  subtle  grada* 
tions  of  oil  painting. 

Whether  we  think  of  tapestries  as  floating  or  fastened  to  the  wall, 
both  conceptions  are  legitimate  and  gave  birth  to  splendid  works, 
perfect  of  their  kind;  the  decline  came  only  when  weavers  in  wool 
began  servilely  to  copy  easel  pieces;  when  it  was  forgotten  that 
tapestries  were  intended  as  decorations  to  he  viewed  from  a dis* 
tance;  and  when  the  shades  of  wool  were  infinitely  multiplied, 
whereas,  in  the  past,  twenty  colors  had  been  sufficient  to  the  weavers 
of  the  best  periods  to  produce  unequalled  masterpieces. 

W e do  not  propose  in  this  introduction  to  write  even  summarily 
a complete  history  of  tapestry.  After  remarking  on  its  origin  and 
character  we  wish  only  to  place  in  this  article  the  series  and  pieces 
which  make  up  the  large  and  rich  collection  chosen  with  such  taste 
and  discernment,  in  the  short  time  of  twenty  years,  hy  Mr.  Charles 
M.  Ffoulke,  whose  name  will  always  he  connected  with  this  group 
of  historically  and  artistically  interesting  tapestries. 

Although  a large  number  of  tapestries  are  mentioned  in  the  XV 
century  inventories,  and  although  it  is  known  that  at  this  period 
many  ateliers  were  in  existence,  especially  in  France  and  Italy,  the 
majority  of  which  were  originally  connected  with  Flanders,  never* 
theless,  pieces  to  which  fixed  dates  can  be  assigned  before  1500  are 
very  rare. 

It  is  moreover  difficult  to  determine  without  the  aid  of  documents 
whether  a tapestry  belongs  to  the  end  of  the  XV  or  the  beginning 
of  the  XVI  century.  At  this  period  the  ateliers  of  Brussels  were  at 
their  height;  they  were  considered  among  the  most  important  even 
during  the  reign  of  Philippe  le  Beau.  Under  the  influence  of  the 


22 


Italian  renaissance  they  added  nobleness  and  purity  of  design, 
beautiful  figures  and  graceful  grouping  to  tbeir  Gothic  traditions, 
decorative  arrangement,  and  great  simplicity  of  color  effects.  Under 
tbe  reigns  of  Phihppe  le  Beau  and  Charles  V,  Brussels  ecKpsed  all 
other  towns  by  her  activity  in  this  line,  and  in  the  number  and  skill 
of  her  weavers  whose  works  were  everywhere  sought  after,  espe- 
cially  in  southern  countries,  where  storied  tapestries  were  imported 
as  articles  of  great  luxury  and  ostentation.  Spain,  then  at  the  summit 
of  her  political  and  financial  glory,  absorbed  large  quantities  of  them, 
but  only  a small  number,  of  which  little  is  known,  is  preserved  in 
her  rich  royal  collection  and  in  her  churches.  'When  Leo  X desired 
tapestries  made  for  the  Vatican  after  cartoons  by  Raphael,  he  en- 
trusted  the  work  to  the  most  famous  Brussels  master  of  the  time, 
Peter  van  Aelst,  who  accomplished  the  work  of  weaving  the  famous 
hangings,  the  “Acts  of  the  Apostles,”  in  four  years,  from  1515 
to  1519. 

Several  splendid  pieces  which  are  chronologically  at  the  head  of 
the  Ffoulke  collection  belong  to  different  years,  which  can  be  deter? 
mined  only  with  difficulty, of  this  periodof  the  pre-eminence  of  Brus- 
sels  tapestries.  The  huge  tapestry,  the  “Triumph  of  David,”  hears 
besides  the  mark  of  Brussels,  that  of  an  unknown  weaver.  The  com? 
position,  full  of  life  and  movement,  the  delightful  and  picturesque 
details,  all  indicate  that  the  author  of  the  cartoon  was  an  able  master 
of  the  period  when  the  art  of  Mabuse  and  Van  Orley  prevailed  in 
Flanders.  The  pages  have  small  escutcheons,  some  of  which  hear 
the  double  imperial  eagle  on  their  shoulder-straps.  The  top  border 
also  contains  escutcheons  hearing  curiously  on  a gold  ground  six 
silver  lilies.  This  border  has  kept  much  of  the  simplicity  of  the  nar- 
row floral  borders  of  the  end  of  the  Gothic  period,  while  that  of  the 
tapestry,  “Curius  Dentatus,”is  already  larger,  and  complicated  with 
figures  in  the  Italian  style.  The  main  composition,which  is  beauti- 
fully arranged,  exhibits  a classical  influence,  while  the  background 
by  a curious  mixture  shows,  set  in  a Flemish  landscape,  a pastoral 
subject — sheep  shearing — in  accordance  with  the  first  month  of 
summer,  which  is  indicated  by  the  sign  of  Cancer  inserted  in  the 
border.  This  beautiful  Brussels  tapestry  belonged  to  a series  of 
“Months,”  a subject  frequently  entrusted  to  tapestry  weavers. 

The  most  famous  of  these  series  is  the  one  traditionally  known  as 


23 


the  “Months  of  Lucas,”  because  Lucas  van  Leyden  was  formerly 
believed  to  be  the  author  of  it.  The  Ffoulke  collection  contains  no 
less  than  five  pieces  of  that  illustrious  set  of  bangings,  “April”  and 
music,  “May”  and  high  pole  shooting,  “September”  and  the  sowing 
season,  “October”  and  vintage  time,  and  “December”  with  skating. 
They  are  delightful  pictures,  where  realistic  observation  is  mingled 
with  poetic  charm,  particularly  captivating  in  the  figures  of  the 
female  musicians  who  sing  of  April  and  spring.  Who  is  the  author 
of  the  cartoons  ? He  is  closely  related  to  Bernard  van  Orley,  if  it  is 
not  be  himself.  This  Brussels  master  rose  to  the  first  rank  in  decora? 
tive  arts  whether  of  tapestry  or  stained  glass.  The  masterpieces  of 
tapestry  attributed  to  him  with  quasi?certainty,  “les  Belles  Chasses  ” 
of  Maximilian  in  the  Louvre,  the  “Battle  of  Pavia”  in  the  Museum 
of  Naples,  and  the  “History  of  Abraham”  at  Hampton  Court,  show 
unmistakable  affinity  with  the  set  of  “Months.” 

One  of  the  pieces  of  the  Ffoulke  collection,  “September,”  bears 
the  authentic  mark  of  the  Brussels  weaver,  Willem  de  Panne? 
maker.  This  de  Pannemaker  belongs  to  the  second  generation  of  a 
family  famous  in  the  history  of  magnificent  tapestries  from  the  XVI 
to  the  XVIII  century.  The  first  generation  is  represented  by  Peter, 
tapestry  weaver  for  Margaret  of  Austria,  who  governed  Flanders. 
Wfllem  worked  for  Mary  of  Hungary,  who  succeeded  Margaret ; 
from  1549  till  1554  he  executed  for  Charles  V the  “Conquest  of 
Tunis”  after  Vermeyen;  in  1562  he  sold  the  “Apocalypse”  to  Philip 
II.  A series  of  the  “Seven  Deadly  Sins”  hears  his  mark.  These  three 
important  works  form  part  of  the  royal  collections  at  Madrid. 

Another  piece  has  an  unidentified  mark.  The  register  of  the 
marks  of  Brussels  tapestries  is  unfortunately  lost,  hut  it  is  evident 
that  all  five  pieces  are  of  the  same  period  and  are  almost  contem? 
porary  with  the  creation  of  the  original  cartoons. 

The  “Months  of  Lucas”  had  such  persistent  success  that  numer? 
ous  reproductions  and  adaptations  of  them  were  made  during  at 
least  two  centuries.  The  Ffoulke  collection  shows  this  in  three  pieces 
executed  at  the  Gobelins  as  late  as  the  XVIII  century. 

We  place  in  the  same  period  and  in  the  same  center  of  art  the 
five  tapestries  representing  scenes  in  the  lives  of  a king  and  queen, 
and  known  as  the  “Archdukes  Albert  and  Isabella”  series;  unfortu? 
nately  the  two  different  monograms  of  weavers  which  appear  on 


24 


the  two  pieces  bearing  tbe  mark  of  Brussels  cannot  be  identified. 
Tbe  grace  of  tbe  women’s  figures,  tbe  beauty  of  tbe  draperies  and 
ornaments,  tbe  whole  composition,  still  relatively  simple  in  its  rich? 
ness,  and  tbe  admirable  borders  combine  to  make  of  these  tapestries 
a most  precious  set. 

Willem  de  Pannemaker’s  mark  is  found  on  one  of  tbe  two  tap? 
estries  representing  battles,  designed  by  some  Romanesque  painter 
of  tbe  time  of  Peter  Coeck  and  Michel  van  Coxcyen  who  executed 
cartoons  for  weavers.  Tbe  border  of  this  first  piece,  which  is  divided 
into  compartments,  the  subject,  the  composition,  the  costumes  and 
the  general  effect,  all  lead  one  to  compare  it  with  that  of  the  series 
containing  four  scenes  of  the  “Trojan  War,”  with  marks  of  Brussels 
and  two  unknown  monograms.  Borders  of  this  sort,  very  large  and 
varied,  and  divided  into  a series  of  secondary  complicated  subjects, 
lose  their  functions  in  the  excessive  importance  given  them,  but  they 
are  interesting  for  their  variety  of  detail  which  harmonizes  with  the 
complexity  of  the  extremely  crowded  main  composition.  A border 
of  the  same  style  frames  the  “Hunting  Scene”  with  its  charming 
landscape,  and  the  two  tapestries,  the  “Companions  of  Proserpine” 
and  “Vertumnus  and  Pomona,”  are  likewise  enclosed. 

Decorative  phantasy  is  shown  in  the  two  quaint  pieces,  the 
“Loves  of  Vertumnus  and  Pomona,”  very  similar  to  the  import* 
ant  tapestries  at  Madrid  and  which  conform  in  symmetry  and  style 
with  the  rule  of  classic  gardens,  and  in  the  series  of  four  pieces,  with 
fluted  columns,  surrounded  by  a curious  border  containing  the  birds 
of  the  air  above,  animals  of  the  earth  on  each  side,  and  the  fishes  of 
the  sea  below,  producing  an  effect  almost  Japanese. 

Belonging  to  Brabant  of  the  XVI  century  (only  the  interpretation 
of  the  unknown  monograms  could  give  us  exact  dates)  are  four  series 
in  whose  compositions  the  important  figures  are  much  Italianized ; 
two  pieces  of  the  “History  of  Joseph;”  four  pieces  with  Biblical 
subjects  after  Vermeyen,  of  which  two  represent  the  “History  of 
Abraham”  and  two  a different  subject,  the  “ History  of  Ahab;”  two 
pieces  forming  the  “History  of  Hezekiah;”  and  six  pieces  of  great 
interest  which  illustrate  the  “History  of  Moses  and  Aaron.”  It  is 
difficult  to  class  this  series  chronologically.  However,  we  believe 
that  it  approaches  nearer  the  end  of  the  pre*Rubensian  age  than  the 
beginning  of  the  Romanesque.  The  two  monograms  with  which 


25 


they  are  signed  refer  to  two  different  Brussels  manufactories,  which, 
it  seems  impossible  to  determine.  The  drawing  shows  great  care ; the 
composition  is  skillful ; and  the  expressions  of  the  faces  are  well  ren? 
de red.  The  work  appears  to  be  that  of  an  Italian  master,  influenced 
by  Raphael.  But  this  influence  was  felt  in  Flanders  as  well  as  in 
Italy,  and  certain  details  of  the  landscape  reveal  northern  nature. 

We  consider  the  execution  of  models  by  artists  foreign  to  the 
center  of  weaving,  in  which  we  have  an  illustrious  example  in  the 
“Acts  of  the  Apostles,”  to  have  been  rather  an  exception  and  one 
which  never  gave  very  good  results — even  in  the  case  of  the  famous 
hangings  of  the  Vatican. 

Apeculiarity  of this  epoch  is  apparent  in  the  four  abovesmentioned 
series — the  lower  border  is  much  broader  than  the  upper  one. 

The  great  series,  the  “History  of  Diana,”  was  woven  at  the  very 
end  of  the  century  in  the  ateliers  of  Jacques  Geubels  and  Jean  Raes, 
as  is  shown  by  the  double  monograms  appearing  with  the  mark  of 
Brussels  on  seven  of  the  eight  pieces.  The  border  is  related  to  that  of 
the  “Loves  of  Vertumnus  and  Pomona.”  The  cartoon  appears  to  be 
a composite  picture.  Under  the  influence  of  the  Italians  this  style 
was  followed  a little  everywhere  in  the  north.  The  cartoons  are 
attributed  to  Toussaint  Dubreuil,  who  painted  at  Fontainebleau  and 
in  the  Louvre  under  Henry  IV,  who  worked  for  the  Parisian  tapestry 
weavers,  and  who  is  especially  mentioned  in  welbknown  inventories 
as  the  author  of  a “History  of  Diana.”  At  that  time  Fontainebleau 
attracted  a great  many  Flemish  men.  They  had  copiously  imitated 
Primatico  and  Rosso ; later,  in  return,  they  held  an  important  place 
in  the  second  school  of  Fontainebleau. 

An  example  of  this  reciprocal  influence  seems  to  appear  in  the 
four  pieces  of  the  set  which  represent  scenes  of  aristocratic  life, 
showing  chateaux,  gardens,  and  architectural  landscapes,  where 
people  are  boating,  shooting,  talking  or  playing  musical  instruments 
(“Chateau  and  Garden  Scenes”).  The  four  tapestries  are  evidently 
part  of  the  same  set,which  is  proved  by  the  similar  bordering,  light 
and  delicate,  notwithstanding  the  fact  that  they  are  somewhat  com; 
plicated,  and  yet  two  of  them  were  woven  in  Brussels  by  Jacques 
Geubels,  while  the  other  two  were  executed  in  Paris,  probably  in 
the  atelier  founded  in  the  Faubourg  Saint  Germain  by  Raphael  de  la 
Planche,  son  of  one  of  the  Flemish  founders  of  the  first  Gobelins,  and 


26 


one  of whose  monograms  may  appear  here  (also  in  “Rinaldo  and  Ar* 
mida”  following).  The  cartoons  of  these  tapestries  probably  issued 
from  Flanders  and  seem  to  show  French  rather  than  Italian  taste. 

We  have  now  arrived  at  the  beginning  of  the  XVII  century,  a 
period  of  transition,  to  which  undoubtedly  belong  the  Brussels  tapes* 
try,  “Vertumnus  andPomona,”and  the  unsigned  religious  tapestries, 
“ Scenes  from  the  Life  of  Our  Saviour,”  with  architectural  borders, 
which  we  should  like  to  connect  with  the  Francks  of  Antwerp.  The 
monogram  of  Jacques  Geuhels  appears  again  on  the  sixteen  panels 
representing  the  virtues. 

Under  the  influence  of  Rubens’  predominating  genius,  all  sumptu* 
ous  arts  developed  with  new  vigor.  The  large  essentially  decorative 
compositions  of  the  great  Flemish  master  were  admirably  suitable 
for  translation  into  tapestry ; moreover  he  executed  several  sets  espe* 
cially  for  that  purpose,  the  “Triumph  of  the  Church,”  the  “History 
of  Constantine,”  the  “History  of  Decius,”  and  the  “History  of 
Achilles,”  of  which  the  Ffoulke  collection  contains  two  pieces. 

Generally  eight  compositions  of  this  set  are  numerated,  of  which 
there  exist  sketches,  cartoons  and  tapestries  in  incomplete  series ; one 
of  the  afore*mentioned  two  pieces  gives  us  a ninth  subject,  “Thetis 
with  the  Little  Achilles  Consulting  the  Oracle.”  Ten  was  the  origi* 
nal  number,  for  at  the  death  of  Rubens  there  existed  in  his  house  a set 
of  hangings  of  this  subject  containing  ten  pieces.  Rubens  worked  on 
the  “History  of  Achilles”  between  1630  and  1635. 

In  looking  at  the  “Wrath  of  Achilles”  one  cannot  help  noticing 
the  similarity  between  tapestries  after  Rubens  and  paintings  by  him, 
and  realizing  that  between  truly  decorative  pictures  by  that  great 
Flemish  artist,  such  as  those  in  the  gallery  of  Marie  de  Medicis  in 
the  Louvre,  and  tapestries  after  Rubens,  there  is  no  appreciable 
difference. 

Energy  and  the  expressive  power  of  the  gestures  are  as  strik* 
ingly  apparent  here  as  in  one  of  Rubens’  paintings.  The  action  of 
Achilles,  who,  while  on  the  point  of  drawing  his  sword  and  stabbing 
Agamemnon,  feels  himself  suddenly  seized  by  the  hair  and  there* 
fore  hesitates  at  the  moment  when  he  recognizes  Pallas,  and  the 
wrath  of  Agamemnon,  whom  the  Greek  chiefs  can  barely  subdue, 
all  compose  a dramatic  whole  in  Rubens’  distinctive  style.  The 
decorative  character  appears  in  the  architectural  border  composed  of 


27 


caryatides  connected  with  the  subject — blind  Fury  with  a torch  and 
Discord  entwined  with  serpents — winged  cherubs  who  support  the 
cartouche  with  its  heavy  garlands,  and  a chained  lion  which  sym= 
bolizes  Achilles  held  in  restraint  by  the  goddess  of  Wisdom. 

Jean  van  Leefdael  signed  in  full  the  tapestry,  ‘Achilles  and  Aga= 
memnon,"  and  the  other  piece  hears  the  initials  of  Gerard  van  den 
Stricken.  Jean  van  Leefdael,  father  of  Willem,  was  a Brussels 
tapestry  weaver;  he  executed  in  1644  a “History  of  Scipio.”  Gerard 
van  den  Stricken  wove  the  “History  of  Constantine”  after  Rubens. 

Flemish,  post^Rubensian  tapestries  are  splendidly  represented  in 
the  Ffoulke  collection  by  the  eight  sumptuous  pieces  which  compose 
the  “Judith  and  Holofernes”  series.  The  set  is  complete,  just  as  it 
was  when  owned  by  Cardinal  Carlo  Barberini,  nephew  of  Urban 
VIII . It  is  a series  of  welbarr anged  compositions  with  figures  grouped 
majestically,  as  in  the  “Reception  of  the  Spoils,”  or  gracefully,  as  in 
the  “Toilet  of  Judith.”  The  borders  with  their  architectural  orna* 
ments,  their  conch=shells,  their  heavy  garlands  of  fruit,  and  their 
cherubs  supporting  cartouches  are  highly  characteristic  of  the  pe* 
riod.  Instead  of  the  name  of  the  author  of  the  cartoons,  an  artist  of 
worth,  certainly  influenced  by  Rubens,  the  full  signatures  of  the 
weavers  appear,  that  of  Everard  Leyniers  on  four  pieces  and  that 
of  Henri  Rydams  on  four.  The  Leyniers  occupied  an  important 
position  in  the  tapestry  art  of  Brussels  for  nearly  two  centuries  and 
a half.  Everard  Leyniers  held  first  rank  in  his  art  at  Brussels  in  the 
middle  of  the  XVII  century.  He  lived  from  1597  till  1680  and  raised, 
during  his  long  career,  the  reputation  of  his  family  to  its  greatest 
height.  The  Rydams  were  sometimes  associated  with  the  Leyniers 
in  the  same  work ; we  have  here  an  instance  of  it.  It  is  impossible  to 
say  whether  this  Henri  Rydams  is  the  one  who  lived  until  1671,  or 
his  son,  whose  first  name  was  also  Henri.  However,  the  “Judith 
and  Holofernes”  are  among  the  most  perfect  series  of  this  period. 
The  Leyniers  family  possessed  traditional  secrets  of  dyeing.  This 
is  apparent  in  their  delicate,  harmonious  colors  of  excellent  pres? 
ervation. 

To  the  same  period,  and  more  closely  related  to  the  style  Rubens 
loved — a style  characterized  by  large  figures  and  whose  vogue  lasted 
for  a long  while — belong  the  grandiose  figures  of  the  “Surrender  of 
a King,”  fragments  of  a mutilated  whole,  the  “Lictor”  and  the  piece 

28 


representing  the  “History  of  Paulus  Emilius”  with  its  two  lateral 
borders  of  rich,  and  varied  motives  and  its  uninterpreted  monogram 
of  a Brussels  weaver. 

“Diana  Wolf  Hunting”  and  tbe  “ Kneeling  W^ arrior”  are  of  tlie 
same  time,  while  the  tapestry, “Vertumnus  Disguised  as  an  Old 
Woman  and  Pomona, "with  its  rich  and  harmonious  border,  already 
shows  a different  taste,  approaching  nearer  to  the  XVIII  century. 
This  subject,  beloved  by  all  admirers  of  tapestry,  appears  here  for 
the  fourth  time ; it  is  taken  from  Ovid’s 1 1 Metamorphoses,”  and  was, 
so  to  speak,  the  golden  legend  of  cartoonists. 

Also  approaching  the  XVIII  century  are  the  “Goddess  Abum 
dance”and  especially  “Cleopatra  and  Mark  Antony,”  a truly  classic 
cal  tapestry  with  its  setting,  half  park,  half  palace,  and  its  theatrical 
grouping  of  figures  who  seem  to  play  a tragedy  as  it  was  played 
towards  the  end  of  the  reign  of  Louis  XIV.  Two  subjects  of  greater 
familiarity,  closely  related  to  each  other,  the  “Triumph  of  Bacchus” 
and  the  “Vintage  Scene,”  terminate  with  most  graceful  and  skillful 
compositions  the  imposing  series  of  Flemish  tapestries  of  the  Ffoulke 
collection. 

Let  us  here  mention  as  a supplement  the  peculiar  tapestry,  “King 
Solomon  and  the  ^ueen  of  Sheba.”  Its  distinctive  character  betrays 
its  German  origin.  From  the  beginning  of  the  art  of  tapestry  weav* 
ing,  Germany  alone  escaped  the  influence  of  Flanders  and  the  north 
of  France.  Its  productions,  of  an  archaic  or  near^archaic  character, 
are  distinguished  by  a peculiar  taste,  but  not  by  graceful  forms  or 
fineness  of  texture. 

Tapestry  weaving  in  France  had  declined  greatly  since  the  brib 
liant  period  of  its  origin.  During  the  XV  and  XVI  centuries  the  art 
vegetated,  or  developed  in  obscurity,  and  its  history  has  been  very 
poorly  unraveled.  It  is  natural  that  the  great  fame  of  the  Flemish 
weavers  was  responsible  for  the  habit  of  confounding  under  the 
name  Flemish  many  tapestries  preserved  in  the  French  provinces. 
In  the  XVII  century  the  renewal  of  tapestry  weaving  in  France 
was  undertaken  by  the  kings.  In  place  of  the  independent  ateliers 
existing  at  that  time,  they  substituted  manufactories  maintained  or 
assisted  by  them. 

Francis  I had  already  founded  an  atelier  at  Fontainebleau,  Henry 
II  subsidized  the  atelier  of  the  “Hopital  delaTrinite”in  the  rue  Saint 


29 


Denis  in  Paris,  and  his  widow,  Catherine  de  Medicis,  regarded  this 
establishment  with  particular  solicitude.  It  is  difficult  to  tell  whether 
her  artistic  taste,  or  her  sorrowas  an  inconsolable  widow,  determined 
most  the  interest  which  she  took  in  the  series,  the  “ History  of  Arte* 
misia.’  ’ This  series  dates  as  far  hack  as  1565  and  the  cartoons,  at  least 
some  of  them,  were  created  by  Antoine  Caron,  Henri  Lerambert 
and  others.  They  were  used  for  nearly  a century,  favored  by  the 
widowhood  of  Marie  de  Medicis,  who  renewed  their  actuality. 
That  of  Anne  of  Austria  could  have  given  the  subject  a new  luster, 
but  no  series  referring  to  this  queen  is  known. 

There  are  twenty*seven  or  twenty*eight  tapestries,  of  four  differ* 
ent  series,  of  the  “ History  of  Artemisia”  in  the  “Mobilier  National” 
in  Paris.  There  were  originally  four  or  five  times  as  many.  “Arte* 
misia”  was  much  in  demand.  There  is  also  a partial  set  of  them 
without  royal  monograms  in  the  palace  at  Munich. 

The  Ffoulke  collection  contains  no  less  than  ten  pieces  of  these 
illustrious  tapestries  belonging  to  two  different  series,  eight  with  the 
arms  and  monogram  of  Louis  XIII  and  two  with  the  monogram  of 
his  mother,  Marie  de  Medicis.  They  all  bear  the  marks  of  the  royal 
ateliers  of  Paris, which  had  multiplied  under  Henry  IV.  The  tapestry 
mark,  which  is  seen  on  all  the  pieces,  appears  on  four  pieces  of  the 
“History  of  Diana,”  likewise  woven  in  Paris  and  belonging  to  the 
Crown  of  Spain. 

Besides  that  of  the  “Charite,”  there  was  a manufactory,  directed 
by  Dubout  and  Laurent,  which  was  installed  in  the  building  of  the 
religious  order  of  the  Jesuits,  and,  in  1607,  in  the  large  gallery  of  the 
Louvre.  But  the  most  important  one,  which  eclipsed  all  others,  was 
founded  in  the  first  years  of  the  XVII  century,  on  the  hanks  of  the 
Bievre  in  the  faubourg  Saint  Marcel,  near  an  old  dyer’s  shop  estab* 
lished  in  the  XV  century  by  the  Gobelin  family. 

It  was  the  first  manufactory  called  the  Gobelins ; its  founders  were 
two  Flemish  men,  known  by  the  Frenchified  and  ncble*sounding 
names  of  Marc  de  Comans  and  Francois  de  la  Planche,  and  who 
were  no  doubt  known  in  their  own  country  as  Marcus  Coomans  and 
Frans  van  der  Plancke.  Their  commission,  a very  curious  one  as 
regards  economic  history,  dates  from  1607.  The  system,  which 
established  a mixture  of  liberal  and  protectional  measures,  was  un* 
doubtedly  the  one  best  adapted  to  the  conditions  of  work  then  exist* 


mg,  for  tkis  first  manufactory  enjoyed  great  prosperity  for  a long 
while,  and  the  fame  of  the  Gobelins  does  not  at  all  date,  as  has  often 
been  said,  from  the  time  of  Louis  XIII,  Colbert,  and  Le  Brun. 

This  house  gave  its  name  to  tapestry  in  general,  to  all  tapestries 
of  all  periods,  and  one  hears  it  applied  with  surprise  in  Germany 
retrospectively  to  tapestries  of  the  XV  century;  the  Italians,  at  least, 
when  they  call  such  hangings “ arazzi,”  although  they  have  nothing 
to  do  with  the  town  of  Arras,  have  chosen  a name  contemporary 
with  their  origin. 

If  the  weavers  of  that  time  had  taken  the  pains,  as  they  did  some? 
times,  to  insert  on  the  galons  of  their  pieces  the  mark  of  their  manu? 
factory,  beside  that  of  Paris,  the  confused  references  of  old  inven? 
tories  could  be  understood,  and  it  would  he  easy  to  recognize  which 
of the  French  productions  of the  XVII  century  belong  to  the  Louvre, 
which  to  the  early  Gobelins,  which  to  their  branches  at  Amiens  and 
Tours,  and  which  to  the  manufactory  established  by  Raphael  de  la 
Planche,  son  of  Francois,  in  the  faubourg  Saint  Germain  in  1 634 . The 
weavers’  marks,  frequently  those  of  obscure  workmen,  whose  per? 
sonality  is  unrecognizable  in  the  complete  work  which  they  finish 
but  do  not  create,  can  rarely  be  identified  and  do  not  lead  to  much. 

The  series  of “Aminta”  bears  the  mark  of  Paris  and  the  weavers’ 
monogram.  The  model,  without  doubt,  comes  from  Italy  by  way  of 
Fontainebleau,  like  Tasso’s  then  famous  pastoral,  and  might  well  be 
attributed,  we  think,  to  Laurent  Guyot,  painter  to  the  King,  espe? 
cially  occupied  in  executing  cartoons  for  tapestries. 

There  is  a series  of  “Rinaldo  and  Armida”  after  Simon  Vouet, 
mentioned  in  the  inventory  of  the  11  Mobilier  de  la  Couronne.”  We 
know  that  he  executed  for  the  Louvre  manufactory  cartoons  of  two 
pieces  of  great  decorative  splendor.  Other  works  of  Simon  Vouet 
are  in  existence,  or  are  thought  to  be  recognized,  which  accord  sufh? 
ciently  with  the  superb  series  of" " Rinaldo  and  Armida”  in  ten  pieces 
in  the  Ffoulke  collection.  This  series  is  doubtless  the  reproduction 
without  the  royal  arms  of  the  set  belonging  to  the  Crown.  The  letter 
R appears  next  to  the  mark  of  Paris.  “It  must  be,”  says  M.  Marquet 
de  Vasselot  in  his  catalogue  of  the  collection  of  Martin  le  Roy,  “the 
initial  of  Raphael  de  la  Planche,  who  probably  used  it  to  distinguish 
the  works  of  his  manufactory,  for  at  that  time  Charles  and  Alexan? 
dre  de  Comans  were  accustomed  to  place  in  the  borders  of  their 


tapestries  the  letters  C C and  A C after  the  P and  the  fleur*de*lis.” 

The  tapestries  of  “Coriolanus”  belong  to  the  same  group.  It  is 
worth  noting  that  there  exists  in  the  Garde*Meuble  part  of  a set  of 
“Coriolanus”  which  was  woven  in  the  Tours  manufactory,  an  off* 
spring  of  the  Gobelins,  which  received  orders  from  Cardinal  de 
Richelieu. 

The  isolated  panel  of  “Rinaldo  and  Armada”  must  he  classed  in 
the  same  category. 

The  ateliers  founded  under  Henry  IV  had  varied  fortunes  through 
different  periods,  doubtless  according  to  circumstances  and  to  the 
ability  of  their  directors.  Tapestry  was  greatly  appreciated  by 
wealthy  amateurs.  The  art  interested  Richelieu;  Mazarin  was  fond 
of  it  and  possessed  a collection  of  three  hundred  and  fifty  pieces.  Fou* 
quet  bought  all  the  tapestries  he  was  able  to  and  wanted  to  have  a 
manufactory  of  his  own  near  his  stately  residence  at  Vaux. 

In  1647,  Mazarin  invited  the  Parisian  director  of  the  manufactory 
of  Florence,  Pierre  Lefevre,  to  come  to  Paris.  Three  years  later  he 
returned  to  Italy,  and  was  replaced  by  his  son,  Jean  Lefevre,  who 
was  later  “ chefd’atelier”  at  the  Gobelins.  The  “ Concert  by  the  God 
Pan”  is  attributed  to  him  by  comparison  with  other  pieces.  Italian 
influence  predominates  in  it  as  well  as  in  the  figures  of  children  in 
the  border  of  the  piece  representing  “Armida.” 

Under  Louis  XIV  the  entire  activity  of  the  royal  tapestry 
weavers  was  concentrated  in  the  Gobelins  establishment,  which 
received  in  1667  the  title  of  “Royal  Manufactory  of  the  Crown 
Furniture.”  It  had  to  do  no  longer  with  tapestries  alone,  hut  every* 
thing  connected  with  the  furnishing  of  the  royal  residence  had  to  he 
made  here,  under  the  absolute  direction  of  an  artist  who  was,  so  to 
speak,  the  Louis  XIV  of  painting,  Charles  Le  Brun,  a man  of  action, 
intelligent  and  extremely  prolific,a  severe  andimperious  supervisor, 
and  the  creator  or  inspirer  of  a decorative  style  entirely  in  accord* 
ance  with  the  taste  for  imposing  grandeur,  majesty  and  pompous 
elegance  in  which  Louis  XIV  delighted  and  reveled. 

Such  was  the  dictatorial  authority  of  Le  Brun  that  the  various 
artists  that  he  employed  had  to  conform  their  temperaments  to  his 
taste  and  methods.  Therefore,  without  the  aid  of  documents,  it  is 
impossible  to  discover,  among  the  immense  quantity  of  decorative 
creations  hearing  his  name,  which  work  is  his  own  and  which  that 


32 


of  His  collaborators.  He  is  tbe  conductor  of  an  orchestra,  and  bis 
musicians  must  follow  but  one  course : to  submerge  tbeir  personality 
in  tbe  whole  in  order  to  produce  complete  harmony.  Such  was  tbe 
will  of  Le  Brun,  in  accordance  with  that  of  Louis  XIV  and  Colbert, 
superintendent  of  tbe  “Batiments  de  Roi,”  who  organized  and 
watched  over  the  Gobelins,  with  the  idea  of  producing  a natural 
artistic  industry  superior  to  any  in  existence  elsewhere.  The  Gobe? 
lins  of  LouisXIV  attracted  many  Flemish  weavers  to  the  detriment 
of  Flemish  industry,  which  definitely  lost  standing.  They  were 
absorbed  by  French  discipline,  which  utilized  their  professional 
qualities. 

The  magnificent  portieres  with  the  arms  of  Colbert,  stately  in  de? 
sign  and  splendid  in  color,  belong  to  the  Gobelins  of  the  time  of  Le 
Brun ; also  the  fragment  of  “ History  of  Alexander,"’  a favorite  sub? 
ject  in  which  the  exploits  of  LouisXIV  were  often  symbolized;  the 
graceful  fragment  of  one  of  the  pieces  of  the  series  of 1,1  Diana  and 
Endymion,”and  the  three  pieces  of  tbe  “History  of  Meleager,”  which 
were  nevertheless  executed  in  a Flemish  atelier,  as  is  shown  by  a 
signature  already  seen  on  the  “History  of  Achilles”  after  Rubens. 

The  death  of  Le  Brun  in  1690  ended  the  most  glorious  period  of 
the  Gobelins.  They  prospered  in  later  years,  or  at  least  produced 
charming  works  after  Claude  Audr an,  Antoine  Coypel,  Jean  Fran? 
9ois  deTroy,  Jeaurat  and  Boucher.  The  “Recruiting  Officer,”  after 
Jeaurat,  is  a lovely  genre  piece  which  recalls  Chardin.  The  border, 
an  imitation  of  a carved  wooden  frame  according  to  the  prevailing 
fashion,  is  noteworthy  for  its  delicate  grace. 

The  Duke  Leopold  of  Lorraine  attracted  weavers  from  theGobe? 
lins,  and  installed  them  at  Malgrange,  near  Nancy,  in  order  that 
they  might  produce  tapestries  for  his  personal  use.  The“Triumphal 
March  of  Charles  V”  was  woven  there  and  formed  the  principal 
piece  in  a series  illustrating  events  during  the  reign  of  the  above? 
mentioned  monarch.  It  is  a composition  extremely  brilliant  and 
full  of  action,  with  a superb  setting.  For  magnificence  and  beauty  it 
ranks  first  in  the  Ffoulke  collection. 

A specimen  which  is  closely  allied  to  Boucher  is  the  “Toilet  of 
V enus,”  woven  in  the  Beauvais  ateliers.  The  founding  of  this  royal 
manufactory  closely  followed  that  of  the  Gobelins.  It  was  also  the 
work  of  Colbert  and  recruited  most  of  its  workmen  from  Flanders. 


33 


The  height  of  its  prosperity  was  reached  under  the  superintendence 
of  the  Flemish  man,  Philippe  Behagle  (1684=1704)  and  under  that  of 
the  painter,  J.  B.  Oudry  (1734=1755).  “The  Gypsies”  is  a charming 
Beauvais  tapestry  in  the  style  of  Casanova,  who  seems  to  evoke  a 
stage = setting  with  actors;  likewise  “ Rinaldo  in  the  Garden  of  Ar= 
mida”  and  the  “Children  Gardeners, "which  characterize  the  work 
of  Berain  who  gave  his  name  to  a decorative  formula.  But  the  most 
important  piece  is  one  which  was  woven  for  Cardinal  de  Rohan, 
“Achilles  Wounded  by  Paris,”  admirable  for  its  composition  and 
setting  as  well  as  for  its  beautiful  drawing  and  expressions  of  the 
different  faces.  The  author  of  the  cartoon,  according  to  M.  Fenaille, 
is  Houasse,  who  worked  under  Le  Brun. 

The  origin  of  the  manufactory  of  Aubusson  in  la  Marche  is  un= 
known  and  it  is  very  difficult  to  identify  its  tapestries.  The  Ffoulke 
collection  contains  four  “verdures”  in  the  Chinese  style  with  the 
inscriptions,  “Aubusson.”  We  should  also  attribute  to  it  two  Louis 
XV portieres,  the  “Pastoral  Scenes”  and  the  “Marine, "after  Joseph 
Vernet,  which  belongs  to  the  XIX  century. 

In  seeking , amidst  great  difficulties , the  origin  of tapestries  in  Italy, 
one  finds  at  every  step  evidence  of  the  important  roles  the  Flemish 
weavers  played  in  this  art,  since  its  origin  in  the  XV century.  Even 
in  the  classical  country  of  fresco  painting,  the  art  of  weaving  was 
greatly  developed.  There  were  numerous  manufactories,  more  or 
less  permanent,  during  the  XV  century  at  Mantua,  Venice,  Siena, 
Rome,  Perugia,  Urhino,  Florence,  Bologna,  Milan  and  Ferrara.  But 
none  of  their  products  have  been  preserved.  Of  the  XVI  century 
there  are  in  existence  only  the  set  of  “Months”  of  the  Trivulce 
family,  woven  in  Vigevano,  and  some  sets  from  Ferrara,  besides  the 
products  of  the  Medici  manufactory  in  Florence,  which  was  under 
the  superintendence  of  Flemish  men,  as  were  nearly  all  the  other 
manufactories  in  Italy  up  to  that  time. 

The  best  Italian  tapestries  of  the  XVII  century  are  of  Roman 
make.  About  1625  Cardinal  Francesco  Barberini,  nephew  of  Pope 
Urban  VIII,  ordered  a careful  inquiry  to  he  made  in  the  principal 
centers  of  production  in  both  Flanders  and  France  concerning  the 
methods  and  processes  of  dyeing.  The  result  was  the  foundation  of 
a manufactory  at  Rome  in  1630,  under  the  direction  of  Jacopo  della 
Riviera,  employing  as  principal  weavers  the  Frenchman,  Antoine, 


34 


and  the  Flemish  man,  Michel.  The  popular  decorator  of  this  time 
was  Pietro  de  Cortona,  whose  celebrated  ceiling  is  preserved  in  the 
Barherini  Palace. 

The  most  famous  series  woven  in  the  Barherini  manufactory  is 
that  of  the  “Life  of  Christ,”  which  entered  the  Ffoulke  collection  in 
1899  and  which  now  adorns  the  Episcopal  cathedral  of  New  York. 
It  consists  of  twelve  pieces  with  beautifully  emblazoned  borders,  and 
contains  the  signature  of  the  director  of  the  manufactory ; the  date 
1652  appears  on  the  twelfth,  which  represents  a most  curious  sub* 
ject,  the  map  of  the  Holy  Land. 

The  author  of  the  cartoons  of  this  important  series  is  without 
doubt  Jean  Francis  Romanelli,  a pupil  of  Pietro  de  Cortona,  favored 
by  Cardinal  Francesco  Barherini.  He  was  an  able  and  expeditious 
painter,  full  of  inspiration,  who  excelled  in  decoration  by  the  intellk 
gent  effects  and  charming  harmony  of  colors  which  he  produced. 
When  the  Barherini  were  banished,  at  the  death  of  Urban  VIII  in 
1644,  Cardinal  Francesco  Barherini  retired  to  Paris  and  received 
the  hospitality  of  Mazarin.  He  had  Romanelli  come  and  decorate 
the  large  gallery  of  the  Hotel  Tuheuf,  since  annexed  to  the  palace 
of  the  National  Library.  Romanelli  also  worked  in  the  Hotel  Lam* 
hert  and  later  in  the  Louvre.  He  also  received  many  orders  at  Rome, 
and  died  in  Viterha,  his  native  town,  in  1662. 

We  again  find  this  skillful  and  prolific  decorator  displaying  all 
his  ability  in  another  important  set,  the  “History  of  Dido  and 
Aeneas,”  in  eight  pieces.  These  bear  the  signature  of  a Flemish 
tapestry  weaver  — Flemish  at  least  by  birth  — M.Wauters,  and  the 
third  piece  hears  also  that  of  the  author  of  the  cartoons.  The  ease  of 
the  compositions  and  the  gracefulness  of the  delicate  feminine  figures 
are  especially  remarkable,  as  well  as  the  happy  distribution  of 
“values”  and  tones.  The  armorial  bees  of  the  Barherini  reappear  on 
the  five  pieces  of  the  Apollo  series.  The  landscapes  in  “grand  style,” 
which  are  of  predominant  importance  here,  reveal  the  author  of 
the  cartoons,  who  undoubtedly  is  Nicolas  Poussin. 

The  emblem  of  the  Barherini  is  also  again  to  be  found  on  the  first 
five  pieces  of  the  “History  of  Constantine,”  the  cartoons  of  which 
are  by  Romanelli  and  painters  connected  with  him,  while  the  sixth 
piece,  which  is  added  to  this  series,  is  part  of  the  “Constantine”  set, 
executed  in  Paris  after  cartoons  by  Rubens. 


35 


The  last  of  the  Italian  sets  is  composed  of  three  pieces,  the 
“Venus  and  Aeneas”  series,  which  gives  us  an  example  of  the  style 
of  the  Medici  manufactory  in  the  XVII  century,  when  it  was  dk 
rected  by  Pierre  Lefevre,  who  has  been  already  mentioned. 

The  study  of  the  history  of  tapestries  is  surrounded  by  many 
difficulties.  The  majority  of  tapestries  have  perished  through  age 
or  been  destroyed  because  of  their  threads  of  precious  metals.  Those 
which  remain  are  widely  dispersed;  a large  quantity  is  held  by 
private  individuals  and  still  used  as  decorations.  Nothing  is  better ; 
but  that  often  prevents  us  from  seeing  them,  or  at  least  studying 
them  at  leisure.  Many  pieces  in  churches,  castles,  and  even  museums 
are  sacrificed  to  the  convenience  of  arrangement,  kept  stored  away, 
badly  folded,  if  not  mutilated,  and  exposed  in  a poor  light  only  on  cer* 
tain  feast  days.  Spain,  for  instance,  which  absorbed  so  many  Flemish 
tapestries,  hides,  so  to  speak,  those  that  remain  in  the  darkness  of  its 
churches,  or  in  depositories,  where  they  are  hardly  accessible  and 
not  catalogued.  The  public  collections  in  which  are  gathered  many 
pieces  of  different  periods  and  of  different  places,  such  as  the  “Gab 
leria  degli  Arazzi”  in  Florence,  and  the  “Musee  des  Gobelins,”  now 
closed  for  several  years  pending  the  erection  of  a new  building,  are 
very  rare. 

Other  obstacles  make  a rigorous  study  difficult.  Tapestries  exist 
generally  in  series,  the  hangings  forming  a set  of  pictures  which 
show  the  development  of  the  same  story.  The  Ffoulke  collection  is 
especially  rich  in  containing  many  series.  But  isolated  pieces  are 
often  met  with,  separated  from  their  companion  pieces,  and  more 
difficult  to  identify  and  classify.  Also  compositions  created  dur= 
ing  a certain  period,  or  in  a certain  center,  were  sometimes  again 
pressed  into  service  by  foreign  and  later  tapestry  ateliers,  accommo? 
dated  to  the  prevailing  taste,  and  altered  and  joined  to  borders  not 
made  for  them.  To  judge  correctly  the  true  value  of  a tapestry  one 
should  he  able  to  compare  the  duplicates,  and  then  give  most  serk 
ous  attention  to  the  original  example,  or  the  one  which  most  nearly 
approaches  the  original. 

We  are  nearly  always  wanting  in  definite  data,  which  to  be 
complete  should  specify  the  date,  the  author  of  the  model,  and  the 
director  of  the  ateliers.  The  author  of  the  cartoon,  the  true  artistic 
creator  of  the  tapestry,  frequently  remains  in  obscurity.  Marks, 

36 


when  they  can  he  understood,  tell  us  only  of  the  interpreter,  the 
translator  into  tapestry  of  the  idea  of  the  master  of  the  work ; the 
person  designated  by  the  monogram  might  he  a real  artist,  for  in  the 
best  periods  tapestries  were  freely  interpreted,  to  what  extent  we 
are  little  able  to  determine ; or  he  might  he  but  a simple  artisan  of 
no  consequence,  or  even  the  head  of  a commercial  house.  Add  to 
this  the  obscurity  and  the  inaccuracy  of  sources,  the  indefiniteness 
of  descriptions,  much  abridged,  in  inventories,  and  one  can  under* 
stand  that  the  scientific  knowledge  of  the  art  of  tapestry  is  still  sur* 
rounded  by  many  uncertainties. 

We  have  dreamed  of  a vast  “corpus”  which  would  record  all 
Flemish  tapestries,  speak  only  of  them,  or  begin  with  them,  for  the 
productions  of  Flanders  would  be  well  worthy  of  this  honor,  on  ac* 
count  of  their  importance,  their  perfections,  their  antiquity  and  their 
universal  influence.  It  would  be  necessary  to  hunt  them  out  where* 
ever  they  might  be,  and  to  obtain  excellent  colored  reproductions ; 
to  go  everywhere,  to  see  them  all  with  experienced  eyes,  and  to 
compare  all  with  a flawless  memory.  Some  day,  perhaps,  this  analy* 
sis,  and  this  delicate  and  complex  enterprise  may  be  accomplished. 
Among  permanent  or  ephemeral  collections  towards  which  the  in* 
vestigator  will  first  turn  his  attention,  the  vast  “ensemble”  grouped 
by  Mr.  Ffoulke  will  occupy  an  important  place  on  account  of  the  ex* 
ceptional  beauty  of  a number  of  the  pieces  and  the  variety  of  choice. 

The  reader  of  the  catalogue,  compiled  from  notes  and  information 
gathered  by  Mr.  Ffoulke  himself,  will  find  in  this  introduction  ex* 
planatory  data  which  will  help  him  to  understand  it,  without  en* 
abling  him,  naturally,  to  settle  definitely  the  many  questions  which 
each  piece  may  bring  up. 

Although  the  catalogue  gives  him  an  excellent  conception  of  the 
tapestries,  it  can  convey  no  idea  of  their  delicate  and  sumptuous 
richness.  In  order  to  realize  their  beauty  he  should  see  them.  Even 
without  knowledge  of  the  period,  weaver,  subjects  represented  or 
historical  circumstances,  his  vision  would  be  delighted  with  the 
charmingly  exquisite  tints  and  splendid  masses  of  color  in  these 
pieces  which  constitute  a heritage  from  the  best  centuries  of  art 
Europe  has  ever  known. 

Ernest  V erlant, 

Directeur  general  des  Beaux* Arts  a Bruxelles. 


37 


FLEMISH  TAPESTRIES 


> 


TRIUMPH  OF  DAVID 
Height,  13  ft.,  9 in.  Width,  22  ft.,  1 in. 

Mark  B^B  Signed 

THIS  tapestry  was  woven  in  Flanders  early  in  the  XVI  century 
and  possesses  many  Gothic  attributes. 

Near  the  center  of  the  foreground  David,  leaning  slightly  back* 
ward,  supports  the  head  of  Goliath  upon  his  sword.  In  front  of  him  a 
crowd  of  singers,  dancers  and  musicians  with  divers  instruments  of 
music  in  their  hands  presses  forward  through  the  arch  of  a building. 

King  Saul,  riding  a superbly  caparisoned  horse,  is  the  main  figure 
in  the  left  foreground.  Jonathan,  with  the  upright  baton  of  a corns 
mander,  rides  directly  behind  him,  and  the  generals  of  his  army 
follow  on  horses  rich  with  trappings.  The  two  pages  walking  on 
the  right  and  left  of  Saul  are  prominent  in  their  short  tunics  and 
large  bouffant  sleeves  of  silver-grey,  and  long  red  hose.  One  raises 
his  left  hand  to  stop  the  advance  of  the  musicians,  while  the  other 
motions  the  followers  of  the  King  to  halt. 

The  figures  are  all  a little  under  life  size  and  are  clothed  in  the 
most  sumptuous  XVI  century  costumes  in  which  the  peculiar  deep 
rich  red  of  that  period  predominates.  The  background  is  occupied 
by  a fort  built  upon  a rocky  hill.  Beyond  rise  the  walls  and  towers 
of  the  temples  of  Ekron.  A little  to  the  left  are  the  tents  of  the 
Hebrews.  In  the  left  second  plane  Saul  stands  at  the  entrance  of  his 
tent,  while  Abner,  the  captain  of  the  hosts,  enthusiastically  pre- 
sents David  carrying  Goliath’s  head. 

The  wealth  of  imagery,  power,  feeling  and  dignity  expressed  in 
this  composition,  as  well  as  the  marvelous  grouping,  drawing  and 
coloring  prove  that  the  cartoon  was  executed  by  a great  master. 
That  there  is  no  record  of  his  name  is  much  to  be  regretted.  The 
name  of  the  one  who  executed  the  tapestry  is  also  unknown,  as  it  is 
signed  with  a symbol  instead  of  a monogram. 

The  border,  as  is  usual  in  Gothic  and  early  XVI  century  tapes- 
tries, is  comparatively  narrow,  and  is  composed  of  flowers,  fruits 
and  leaves,  apparently  tied  to  a baton  with  red  and  blue  ribbons.  In 
the  upper  part  of  the  border  are  two  shields  with  the  white  Flies 
of  France  upon  a yellow  ground. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 


43 


CURIUS  DENTATUS 
Height,  13  ft.,  10  in.  Width,  19  ft.,  6 in. 

Mark  JOB 

THIS  remarkable  tapestry  was  woven  in  Flanders  at  the  begins 
ning  of  tbe  XVI  century.  In  it  we  see  tbe  sunset  of  tbe  Gotbic 
period  and  tbe  sunrise  of  tbe  Flemish  Renaissance.  While  tbe  artist 
weavers  were  yielding  to  tbe  influences  of  tbe  Renaissance  they  were 
still  inspired  by  Gotbic  traditions,  and  as  a result  have  presented  us 
with  a decorative  tapestry  of  tbe  highest  order. 

Curius  Dentatus,  a celebrated  Roman  general,  is  represented  in 
tbe  act  of  refusing  tbe  gifts  of  tbe  Samnite  ambassadors.  He  stands 
in  tbe  central  foreground,  bolding  in  bis  left  band  a number  of  long 
tournament  lances.  He  wears  a superb  headspiece  surmounted  by 
a winged  griffin  and  a number  of  ostrich  plumes,  a suit  of  Roman 
armor  richly  decorated,  and  a long  blue  mantle  which  falls  from  bis 
shoulders  to  tbe  ground.  In  tbe  left  foreground  are  five  personages, 
three  of  whom  are  on  their  knees.  In  tbe  right  foreground  are  two 
kneefing  men  and  two  standing  women.  Tbe  members  of  tbe  no* 
bility,  in  attitudes  of  earnest  supplication,  all  wear  rich  garments 
befitting  their  rank.  Tbe  background  represents  a pastoral  scene  in 
which  a flock  of  sheep  is  being  driven  towards  two  women  who 
are  shearing.  A medallion  in  tbe  sky  represents  a shepherdess  bolds 
ing  a sheep  in  her  lap  and  surrounded  by  clouds. 

In  tbe  coloring  of  this  tapestry  tbe  Gotbic  red  with  high  lights  in 
yellow  is  conspicuous  in  tbe  garments;  green  and  dark  blue  are  also 
used ; and  these  colors  have  all  been  wonderfully  blended  by  tbe  pros 
cess  of  batching,  a method  of  shading  for  which  Flanders  was  pars 
ticularly  famous  at  that  period. 

Tbe  borders  are  a bewildering  confusion  of  children,  satyrs,  fruits 
and  flowers.  Tbe  color  scheme  of  tbe  tapestry  is  faithfully  carried 
out  in  tbe  variegated  flowers  and  fruits. 

In  tbe  center  of  tbe  top  border  is  tbe  sign  of  tbe  zodiac  standing 
for  tbe  month  of  June.  In  tbe  center  of  tbe  bottom  border  on  a 
Gotbic  red  ground  is  tbe  inscription : 

QVAMVIS  INNVMERAS 
CVRIVS.  DEVICERAT.  VRBES 
MVNERA  DESPEXIT. 

GLORIA.  SOLA  SATIS. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 


44 


% 


THE  LOVES  OF  VERTUMNUS  AND  POMONA 
Illustrated  in  two  tapestries 

I 

Height,  ii  ft.,  3 in.  Width,  16  ft.,  io  in. 

II 

Height,  ii  ft.,  9 in.  Width,  n ft.,  o in. 

THESE  tapestries  were  woven  in  Brussels  about  the  middle  of  the 
XVI  century  and  rank  among  connoisseurs  as  important  speck 
mens  of  that  period.  A similar  subject  to  the  larger  piece,  but  sur? 
rounded  by  a different  border,  is  in  the  palace  of  the  Escurial  in  Spain. 
It  has  been  frequently  illustrated  and  spoken  of  in  the  highest  terms 
by  Lacordaire  and  Darcel. 

In  the  illustration  of  the  first  tapestry,  Pomona  stands  at  the  ex* 
treme  right,  and  Vertumnus  at  the  extreme  left.  The  former  wears  a 
brocade  skirt  and  tunic.  A scarf  falls  over  her  left  arm  to  the  ground 
and  in  her  right  hand  she  carries  a sickle.  Vertumnus  wears  a short 
richly  embroidered  tunic  which  leaves  neck,  arms  and  knees  bare. 
He  carries  a rake  over  his  left  shoulder.  The  figures  stand  beneath 
an  arbor  luxuriant  with  grapes  and  leaves.  The  supports  of  the 
three  arches  which  comprise  the  arbor  consist  each  of  four  cary? 
atides  or  termini  which  rest  upon  high  carved  bases.  Of  the  two 
termini  which  face  outward,  one  has  the  features  of  a man  and  the 
other  those  of  a woman.  Above  them  a pointed  roof  rests  upon  the 
Ionic  capitals  which  they  support.  In  the  center  space,  between 
the  termini,  stands  a richly  decorated  vase  filled  with  variegated 
flowers  and  leaves. 

Two  turkeys,  male  and  female,  occupy  the  center  of  the  fore? 
ground,  and  are  surrounded  by  leaves  of  various  plants,  all  carefully 
and  correctly  drawn.  In  the  background,  an  okbfashioned  Italian 
garden,  laid  out  with  great  regularity,  stretches  into  the  distance. 
A fountain  plays  in  the  center,  and  on  the  right  and  left  are  long 
walks  sheltered  by  arbors. 

The  border  is  composed  of  a beautiful  design  of  conventionalized 
foliage  interspersed  with  satyrs,  bacchantes  and  fauns.  In  one  of 
the  upper  corners  is  a winged  female  bust,  in  the  other  an  intricate 


49 


design  of  leaves,  and  in  tlie  two  lower  corners  squatting  satyrs.  In 
the  center  of  both  top  and  bottom  borders  is  a pedestal  bearing  the 
armless  bust  of  a satyr  supported  on  both  sides  by  satyrs,  bacchantes 
and  fauns.  In  the  center  of  each  lateral  border  stands  the  full  length 
figure  of  a faun  bolding  a scythe.  The  whole  effect  is  very  graceful 
and  pleasing. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 

Now  in  the  possession  of  Bayard  Thayer,  Esq. 


THE  MONTHS  OF  LUCAS 

i 

APRIL 

Height,  ioft.,  3 in.  Width,  n ft.,  ioin. 

Mark  BUS  Signed 

II 

MAY 

Height,  io  ft.,  8 in.  Wridth,  13  ft.,  9 in. 

Mark  108 

III 

SEPTEMBER 

Height,  10  ft.,  8 in.  Whdth,  11  ft.,  9 in. 

Signed  ^ 

IV 

OCTOBER 

Height,  10  ft.,  5 in.  V/idth,  11  ft.,  o in. 

V 

DECEMBER 

Height,  10  ft.,  4 in.  Width,  12  ft.,  7 in. 

Mark  BUB 

Probably  no  tapestries  have  had  as  great  a world^wide  reputation 
and  popularity  as  the  series  known  as  the  “Months  of  Lucas.” 

The  fird  set,  twelve  in  number,  was  made  for  the  infant  Ferdinand 
of  Portugal,  and  was  so  greatly  admired  that  an  order  soon  followed 
for  the  royal  house  of  France.  Threads  of  gold  and  silver  were 
lavishly  used  in  the  weaving.  Unfortunately,  in  1797,  these  beauti* 
ful  examples  of  Flemish  art  were  burned  in  order  to  extrad:  the 
precious  metals  they  contained. 

51 


Several  series  were  made  beside  that  mentioned  above,  but  no 
complete  one  is  known  to  exist  today,  and  fortunate  indeed  is  the 
individual  who  can  count  one  or  more  of  the  subjects  among  his 
art  treasures.  These  five  pieces  of  the  Barberini  Collection  were 
probably  purchased  by  Cardinal  Francis  Barberini  in  1625,  and 
were  executed  in  Brussels,  near  the  middle  of  the  XVI  century, 
under  Willem  de  Pannemaker,  one  of  the  most  celebrated  master 
weavers  of  that  time.  His  monogram  appears  on  the  right-hand 
galon  of  one  of  them,  an  unknown  monogram  on  another,  and  the 
mark  of  Brussels  on  others. 

The  designs  of  the  twelve  months  were  for  a long  time  attributed 
to  Lucas  von  Leyden,  and,  although  he  is  not  now  considered  by 
competent  judges  to  be  the  author  of  them,  they  will  undoubtedly 
always  be  known  as  the  “Months  of  Lucas,”  for  in  all  important 
works  on  tapestries  they  are  so  designated. 

The  subjects  all  picture  the  out-of-door  life  of  nobles  and  peasants, 
and  the  costumes,  which  are  of  the  era  of  Charles  V,  display  much 
wealth  of  color. 

April  is  illustrated  by  a landscape  which  contains,  on  the  right, 
a field  where  sheep  are  grazing,  and  on  the  left,  a broad  river.  Seated 
on  its  flower-strewn  bank  is  a group  of  five  persons,  evidently  of  the 
nobility. 

May-day  sports  are  joyously  portrayed  in  the  next  piece.  Archers 
are  aiming  their  arrows  at  a bush  raised  high  upon  a pole,  spectators 
are  seated  in  the  foreground,  and  on  the  left  are,  apparently,  the  grand 
seigneur  of  the  country  and  his  wife,  mounted  upon  richly  capari- 
soned horses. 

September  exhibits  a farm  where  laborers  are  sowing  seed  and 
ploughing.  In  the  foreground  six  peasants  are  busy  with  sacks  of 
grain. 

In  the  middle  plane  of  the  tapestry  representing  October  the  peas- 
ants are  occupied  in  trampling  the  grapes  for  wine.  On  the  right  a 
grape  arbor  forms  the  background  for  the  group  seated  upon  the 
grass  and  occupied  in  tasting  wine.  Behind  them  a servant  holds 
out  a plate  of  fruit,  and  a cavalier  is  making  advances  to  a young 
maid.  In  the  left  foreground  two  little  boys  are  playing  with  grapes. 

The  last  month  of  the  year  is  designated  by  a merry  skating  scene ; 
apart  from  the  ice  and  skaters,  the  cold  clouds,  the  trees  almost  bereft 

52 


of  foliage,  and  the  white  hills,  all  proclaim  a winter  scene.  In  the 
midst  of  the  December  landscape,  near  the  center  of  the  tapestry, 
stands  a large  chateau ; in  front  of  it,  on  the  frozen  pond,  are  many 
peasants  skating.  The  cavaliers  and  ladies  in  the  foreground  are  evi? 
dently  amusing  themselves  by  watching  the  scene.  Standing  upon 
the  left,  and  most  conspicuous  among  the  groups,  is  a stately  couple, 
richly  costumed. 

Barherini  Collection. 

Ffoulke  Collection,  1889. 

Nowin  the  possession  of  Mrs.  E.  H.  Harriman. 


53 


APRIL 

Height,  io  ft.,  3 in.  "Width,  n ft.,  io  in. 

Mark  EU3  Signed 

ON  the  left,  in  the  foreground  of  this  tapestry,  stands  a lady  play? 

ing  upon  a mandolin.  Around  her  neck  is  a coral  necklace,  and 
she  wears  a dark  red  velvet  cap  and  a red  dress  with  pale  blue 
sleeves.  The  gracefully  seated  chatelaine  holds  a wreath  in  her 
right  hand;  she  also  has  a red  velvet  cap.  Her  light  blue  dress  is 
lined  with  red  and  covered  with  a rich  design.  Between  her  and 
the  lady  playing  upon  a cithara,  on  the  left,  are  seen  the  head  and 
shoulders  of  a cavalier,  who  with  his  right  hand  seems  to  he  keeping 
time  to  the  music.  In  front  of  this  group  a kneeling  lady  is  gathering 
flowers ; over  a red  petticoat  she  wears  a green  skirt,  and  her  elaho? 
rate  sleeves  are  slashed  over  violet  linings.  In  the  field  on  the 
right,  where  sheep  are  grazing,  stand  a shepherd  and  shepherdess 
accompanied  by  their  dog.  The  field  reaches  hack  to  a group  of 
houses,  beyond  which  are  green  trees  and  blue  hills.  In  the  left 
central  plane  is  a fine  chateau ; a river  flows  close  to  its  walls,  and 
upon  it  is  a boat  containing  five  people.  The  principal  personages 
are  well  drawn,  gracefully  posed  and  superbly  costumed.  In  the 
French  National  Museum  is  preserved  a copy  of  this  subject,  woven 
for  the  Princess  of  Conti  at  the  Gobelins,  nearly  one  hundred  and 
fifty  years  later. 

In  the  center  of  the  top  border  of  this  tapestry  is  the  sign  of  the 
zodiac  for  April  with  the  word  written  below  it.  In  a round  cars 
touche  in  the  right  upper  corner  is  the  head  of  a Grecian  woman, 
and  in  a similar  cartouche  in  the  left  corner,  the  profile  of  a man 
wearing  a helmet.  In  the  corners  of  the  bottom  border  are  round 
cartouches  on  which  are  pictured  children  playing  different  games. 
All  the  cartouches  are  in  grisaille.  Attached  to  each  corner  motive 
are  the  forepaws  of  a Hon  and  a mask  of  its  head  in  pale  yellow. 
Each  lion’s  head  holds  in  its  mouth  a ring  to  which  is  fastened  a long 
baton  of  oak  leaves  upon  which  are  tied  groups  of  flowers,  fruits  and 
leaves,  animated  with  various  birds. 

The  borders  of  the  other  four  tapestries  are  like  the  one  here 
described,  each  having  its  own  sign  of  the  zodiac.  There  is  a slight 
difference  in  the  drawings  of  the  heads  in  the  upper  corners,  and  the 
games  of  the  children  in  the  lower  ones.  They  are  very  beautiful 
and  have  rarely  been  equalled  in  richness  and  variety  of  motives. 
Now  in  the  possession  of  Mrs.  E.  H.  Harriman. 

54 


/ 


THE  TROJAN  WAR 

i 

SINON  OUTWITTING  KING  PRIAM 
Height,  io  ft.,  io  in.  Width,  8 ft.,  8 in. 

Mark  BUS  Signed  / jc 

II 

BATTLE  OF  THE  SHIPS  AND  DEATH  OF 

PATROCLUS 

Height,  io  ft.,  n in.  Width,  12  ft.,  8 in. 

Mark  BUB  Signed  5HJ 


III 

DESTRUCTION  OF  TROY  AND  FLIGHT  OF  AENEAS 
Height,  10  ft.,  11  in.  Width,  17  ft.,  1 in. 

Mark  BUB  Signed  5BJ 

IV 

DEPARTURE  OF  THE  GREEKS  WITH  PRISONERS 

AND  BOOTY 

Height,  10  ft.,  11  in.  Width,  15  ft.,  1 in. 

Signed  5HJ 


These  tapestries,  almost  entirely  of  silk,  were  woven  in  Flanders 
in  the  XVI  century.  The  weaver’s  monogram  is  woven  in  the 
lower  part  of  the  right-hand  galon  of  all  hut  one  of  them,  and  on 
three  of  them  in  the  bottom  galon  is  the  mark  of  Brussels.  In  no 
other  part  of  the  world  were  tapestries  like  these  ever  woven.  They 
are  remarkable  for  their  wonderful  borders  of  many  independent 
panels,  each  of  which  is  a picture  in  itself,  for  their  exquisite  land- 
scapes, for  the  vigor  and  power  of  their  battle  scenes,  and  for  the 
delicacy  and  luster  of  the  colors  used  in  the  costumes,  flags  and  tents. 


57 


They  are  Flemish  Renaissance  productions  of  extraordinary  quality 
and  beauty,  and  in  no  museums  in  Europe  are  to  he  found  tapestries 
of  the  same  era  that  can  outrival  them. 

The  first  one  of  the  series  is  illustrated  and  fully  described.  The 
second  portrays  the  battle  between  the  Greeks  and  Trojans,  in  which 
the  latter  were  victorious  and  Patroclus  slain. 

In  the  background  are  the  Grecian  tents  and  beyond  them  the 
ships  of  war,  some  of  them  in  flames.  The  entire  tapestry  is  filled 
with  desperate,  fighting  men.  The  opposing  forces  wear  helmets, 
cuirasses,  tunics  and  buskins,  so  much  alike  both  in  character  and 
coloring  that  it  is  difficult  to  distinguish  Greek  from  Trojan. 

The  third  and  largest  tapestry  illustrates  the  flight  of  the  Trojans 
from  their  city. 

In  the  far  background  the  light  bluish  mountain  tops  pierce  a rose 
sky,  the  nearer  hills  are  crowned  with  buildings,  and  Grecian  ships 
lie  at  anchor  just  outside  the  city  walls.  Some  buildings  are  on  fire. 
On  a large  platform  in  front  of  the  circular  marble  temple  of  Minerva 
stands  the  huge  and  fabled  wooden  horse,  from  the  interior  of  which 
Greeks  are  descending ; on  the  right  of  the  temple  they  are  entering 
the  city  through  a large  breach  in  the  walls,  and  on  the  left  they  climb 
the  steps  of  the  palace.  Among  the  many  who  are  trying  to  escape 
from  their  foes,  Aeneas  carrying  his  father  on  his  hack,  holding  his 
son  by  the  hand  and  followed  by  his  wife,  is  seen  in  the  left  fore? 
ground.  Pyrrhus  carries  a sack  of  treasure  on  his  shoulder  and 
leads  away  Andromache,  while  on  the  extreme  right  Cassandra  is 
being  led  away  by  two  Greeks. 

The  last  piece  reveals  distant  mountain  peaks  behind  Mount  Ida, 
whose  summit  is  crowned  by  a chateau  and  whose  slopes  are  covered 
with  trees.  The  last  Trojan  prisoners  are  leaving  the  palace  of  the 
King,  and  between  the  palace  and  the  sea  some  Trojans  are  making 
a last  desperate  attack  upon  the  Greeks.  In  the  foreground  two 
Greeks  force  Queen  Hecuba  towards  the  shore.  At  the  extreme 
right  a Grecian  warrior  carries  over  his  shoulder  a sack  of  treasure. 
Behind  him  Cassandra  struggles  in  the  arms  of  her  captor  in  the 
midst  of  a crowd  of  soldiers  laden  with  arms  and  booty. 

In  the  coloring  of  these  tapestries,  delicate  tones  and  shades  of 
blue,  green,  rose  and  yellow  have  been  used.  The  yellow  predomk 
nates,  and  a delicious  effect  of  luster  and  warmth  has  been  produced. 

58 


Undimmed  by  the  passing  centuries,  they  have  gathered  from  them 
a softer  light,  and  therefore  additional  beauty. 

The  beautiful  Flemish  Renaissance  borders  are  divided  into  minias 
ture  panels  of  exquisite  loveliness.  Each  panel  contains  an  allegory 
ical  figure  seated  beneath  an  arbor  covered  with  flowers  or  leaves 
and  supported  upon  termini  or  held  up  by  children.  Little  landscape 
scenes  are  visible  through  every  arbor. 

In  the  side  borders  all  the  arbors,  except  those  in  the  upper  cor= 
ners,  are  surmounted  by  vases  filled  with  flowers,  fruits  and  leaves. 
On  each  side  of  the  vases  resting  upon  the  bottom  arbors,  on  top  of 
which  are  also  reclining  sirens  in  light  blue  and  rose  draperies,  are 
male  figures  with  baskets  of  flowers  and  fruits  upon  their  heads. 
These  figures  form  the  supports  of  the  panels  above  them.  On  top 
of  the  central  arbors  recline  two  children  with  sofbhued  mantles 
falling  gracefully  around  them.  They  play  upon  trumpets  and  hold 
a festoon  of  ribbon  over  the  arbors  beneath  them.  Above  them  are 
female  figures  holding  lighted  torches  in  their  extended  hands,  and 
above  the  baldaquins  extending  over  the  heads  of  these  figures, 
satyrs  hold  ribbons,  to  which  are  suspended  baskets  of  fruits. 

Between  every  allegorical  and  landscape  scene  in  the  top  and 
bottom  borders  is  a vase  of  flowers,  fruits  and  leaves,  on  each  side 
of  which  a boy  holds  the  end  of  a ribbon  which  forms  a festoon  in 
front  of  the  flowers  and  fruits.  The  panels  in  the  side  borders  cons 
tain  the  Olympian  gods  and  the  signs  of  the  zodiac.  Among  the 
allegorical  figures  in  the  other  panels  are  Abundance,  Faith,  Justice, 
Prudence,  Wisdom,  Hope  and  Music. 

The  unrivalled  exuberance  and  the  variety  of  the  accessory  deco* 
rations  in  these  marvelous  borders  make  it  practically  impossible  to 
give  a detailed  description  of  them.  A low  soft  tone  of  color  prevails 
throughout  and  renders  them  delightfully  harmonious  with  the  subs 
jects  they  enclose. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 


59 


I 

SINON  OUTWITTING  KING  PRIAM 
Height,  io  ft.,  io  in.  Width,  8 ft.,  8 in. 

Mark  B'vll  Signed 

IN  this  tapestry  Sinon,  who  was  left  behind  hy  the  Greeks  in  order 
that  he  might  persuade  the  Trojans  to  draw  the  wooden  horse  into 
their  city,  stands  before  King  Priam.  He  is  bareheaded,  has  a short 
heard,  wears  blue  buskins,  a yellow-brown  mantle,  with  designs  in 
blue,  and  a tunic  of  pale  shades  of  green  and  yellow.  He  emphasizes 
his  words  hy  arguing  with  his  hands.  The  King  has  a long  heard. 
He  carries  a sceptre,  and  wears  a crown  studded  with  precious 
stones,  a light  yellow  mantle,  a decorated  sword,  rose  buskins,  and 
a superb  and  lustrous  blue  robe  embroidered  in  yellow.  He  appears 
to  he  carefully  weighing  Sinon’s  report,  and  the  gesture  of  his  hand 
indicates  that  he  is  cross-questioning  him.  Five  generals  or  counsel- 
ors stand  behind  Priam  and  all  wear  costumes  in  exquisite  harmony 
with  that  of  the  King.  The  landscape  background  is  enlivened  hy 
several  interesting  details.  There  is  a fine  XV  century  chateau,  a 
beautiful  lake,  a hunting  scene,  and  a tableau  which  represents  Juno, 
Minerva  and  Venus  requesting  Paris  to  decide  which  is  entitled  to 
the  “Golden  Apple.” 

In  the  top  and  bottom  border  of  this  tapestry  the  central  panel  is 
the  same.  It  represents  three  women  grouped  around  a basket,  the 
top  of  which  one  has  lifted,  showing  a grotesque  figure,  half-child, 
half-snake.  The  middle  panel  in  the  left  lateral  border  pictures  Mer- 
cury wearing  his  winged  hat,  and  the  one  in  the  right  lateral  border 
pictures  Diana. 

Ffoulke  Collection,  1889. 


60 


TWO  RENAISSANCE  TAPESTRIES 

i 

BATTLE  BETWEEN  THE  TROOPS  OF  THE 
KING  OF  SPAIN  AND  THOSE  OF  THE 
UNITED  NETHERLANDS 

Height,  14  ft.,  6 in.  Width,  12  ft.,  6 in. 

Mark  4^ 

II 

THE  ARMY  ON  THE  MARCH 

Height,  10  ft.,  11  in.  Width,  12  ft.,  7 in. 

THESE  tapestries  rank  as  museum  pieces,  and  were  woven  in 
Flanders,  during  the  last  half  of  the  XVI  century,  in  the  atelier 
of  Willem  de  Pannemaker. 

In  the  center  field  of  the  first  tapestry,  the  one  illustrated,  a 
troop  of  cavalry  is  engaged  in  combat.  In  the  foreground  some 
warriors  fight  on  foot,  and  others  on  horseback,  using  swords  and 
spears.  On  the  right  a warrior  in  full  armor  is  on  the  point  of  transs 
fixing  his  fallen  antagonist  with  his  spear.  The  figures  are  small, 
the  costumes  superb,  and  the  entire  scene  is  full  of  fife , energy  and 
martial  power.  The  foliage  is  dark  green  with  high  fights  in  yellow. 
A warm  mellow  tone  pervades  the  entire  composition. 

The  border  is  magnificent  and  of  unusual  width.  It  is  divided  into 
many  diminutive  panels,  each  panel  illustrating  a beautiful  and 
independent  allegorical  scene  with  a landscape  background. 

The  second  piece  represents  an  immense  army,  in  marching  order, 
wending  its  way  through  the  defiles  of  the  distant  mountains  down 
to  the  foreground,  where  the  cavalry,  in  a closely  packed  column, 
passes  out  of  sight  on  the  left.  Unfortunately  this  tapestry,  although 
the  companion  of  No.  I,  is  without  a border.  In  coloring  and  tone 
they  are  alike ; the  weaving  is  equally  fine  in  both  and  the  cartoons 
were  designed  by  the  same  artist. 

Ffoulke  Collection,  1903. 

Now  in  possession  of  Felix  M.  W’arburg,  Esq. 


HUNTING  SCENE 
Height,  13  ft.,  9 in,  "Width,  13  ft.,  4 in. 

Mark  B*v7B 

THIS  beautiful  Renaissance  tapestry,  which  dates  from  the  last 
half  of  the  XVI  century,  has  the  merit  of  being  woven  under 
Willem  de  Pannemaker,  one  of  the  most  celebrated  of  the  great 
galaxy  of  Flemish  weavers. 

In  the  right  foreground  of  the  tapestry  a huntsman,  with  a club 
studded  with  iron  spikes,  is  in  the  act  of  striking  a huge  turtle.  The 
man  wears  a blue  coat  of  mail  over  a tunic  of  white  and  gold;  near 
him  stands  a woman  wearing  a red  dress  with  high  lights  in  yellow. 
She  has  raised  her  veil  or  mantle  in  order  to  shield  her  eyes  from  the 
scene  before  her. 

In  the  left  foreground  is  a hunting  scene,  and  the  background  is 
occupied  by  a landscape  garden,  which  is  situated  at  the  foot  of  a 
high  mountain.  There  are  groups  of  trees  with  thick  foliage;  and 
the  leaves  and  flora  of  the  foreground  are  rendered  with  all  the 
minuteness  and  precision  which  characterized  the  attention  given 
to  them  at  this  period. 

The  crowning  glory  of  the  composition  is  its  border,  which  is 
extremely  wide,  and  is  composed  of  a series  of  panel  pictures  of  alle* 
gorical  subjects,  each  a delightful  little  tapestry  in  itself.  The  blue* 
green  of  the  main  subject,  with  its  yellow  light  and  touches  of  red, 
is  repeated  in  the  border,  so  that  the  entire  piece  seems  bathed  in 
a warm  yellow  light.  Although  this  tapestry  is  unsigned  it  formed, 
with  the  two  preceding  Renaissance  tapestries,  part  of  a series 
having  the  same  borders,  coloring  and  texture,  and  undoubtedly  was 
woven  in  the  same  atelier. 

Ffoulke  Collection,  1903. 

Now  in  the  possession  of  Mrs.  E.  H.  Harriman. 


66 


J 


TWO  RENAISSANCE  TAPESTRIES 

i 

THE  COMPANIONS  OF  PROSERPINE 
Height,  io  ft.,  ii  in.  Width,  12  ft.,  7 in. 

Signed  DP 
II 

VERTUMNUS  AND  POMONA.  HUNTING  SCENE 
Height,  11  ft.,  5 in.  Width,  8 ft.,  4 in. 

Signed  J 

THESE  tapestries  were  woven  in  Brussels  about  the  close  of  the 
XVI  century.  The  first  one  hears  an  unknown  signature,  and 
the  second  is  signed  by  Jacques  Geubels,  one  of  the  best  known  and 
most  skillful  master  weavers  of  his  day. 

The  tapestries  are  somewhat  unusual  on  account  of  the  totally 
different  character  of  their  dual  compositions. 

In  the  center  plane  of  the  first  tapestry  a number  of  ladies  and 
gentlemen,  partly  on  foot  and  partly  on  horseback,  hunt  with  fab 
cons  and  dogs.  In  the  left  foreground  three  women,  the  compan- 
ions  of  Proserpine,  are  grouped  around  a basket  of  flowers.  The 
attitude  and  features  of  the  one  standing  plainly  depict  grief  and 
dismay. 

The  scene  in  the  right-hand  upper  corner  of  the  main  composi- 
tion shows  Pluto,  with  his  unwilling  captive,  seated  in  his  chariot 
drawn  by  two  horses,  whirling  through  the  air. 

The  perspective  features  of  the  tapestry  are  excellent,  and  the 
eye  can  wander  a long  distance,  from  the  ducks  swimming  in  the 
pool  in  the  immediate  foreground,  past  the  hunting  party,  through 
the  garden,  and  over  the  hills  to  the  distant  mountains. 

In  the  smaller  tapestry,  of  which  an  illustration  is  given,  two  well- 
drawn  and  richly  costumed  figures,  representing  Vertumnus  and 
Pomona,  engaged  in  earnest  conversation,  occupy  the  immediate 
foreground.  The  woman  stands  upon  the  right  with  one  arm  raised. 
She  wears  a richly  brocaded  skirt  with  an  over -dress  of  blue  and 
red  stripes.  A red  coat,  with  designs  in  white,  hangs  over  one  arm 


and  shoulder.  The  man  heside  her  has  a tunic  of  blue  and  yellow  and 
a rich  red  mantle  with  pale  blue  figures  flows  from  his  shoulders. 

In  the  center  field  a huntsman  shoots  at  the  ducks  which  swim 
upon  the  stream  that  winds  around  an  island  covered  with  trees. 
Another  huntsman  holds  three  dogs  in  leash.  Behind  the  island,  foots 
hills  covered  with  trees  rise  one  above  another,  until  they  melt  into 
the  range  of  mountains  in  the  far  background. 

The  foliage  in  these  tapestries  is  of  a soft  and  delicate  green, 
with  high  lights  in  yellow.  These  are  the  dominant  colors  in  both 
pieces,  but  their  effect  is  brightened  by  touches  of  red  and  blue  in 
the  costumes. 

The  borders  are  so  rich  in  design  that  space  will  not  permit  of 
their  description  in  detail.  In  the  center  of  the  top  borders,  enclosed 
in  a cartouche,  Apollo  rides  in  a chariot  drawn  by  four  horses.  In 
the  center  of  the  bottom  borders  sylvan  scenes  are  enclosed  in  cars 
touches,  decorated  similarly  to  those  of  the  top  borders.  In  the  four 
corners  are  apocryphal  and  allegorical  figures.  Miniature  pictures, 
enclosed  in  cartouches,  occupy  the  centers  of  the  lateral  borders. 

The  spaces  between  the  cartouches  and  the  figures  in  the  four 
corners  of  the  borders  are  filled  with  small  cherubs,  birds,  flowers, 
fruits,  etc.  On  account  of  the  greater  width  of  the  first  tapestry,  its 
top  and  bottom  borders  contain  female  figures  on  the  right  and  left 
of  the  cartouches,  which  are  not  found  in  the  second  tapestry. 

Ffoulke  Collection,  1891. 

Now  in  the  possession  of  the  Antiquarians  of  the  Art  Institute 
of  Chicago. 


72 


FOUR  BIBLICAL  SUBJECTS 

Cartoons  by  Jan  Cornelisz.  Vermeyen. 

I 

THE  CIRCUMCISION  OF  ISAAC 

ISACEM  DIVINVS  ABRAHAM  CONCIDERE  IVSSIT 
EX  VETERVM  LEGE  AC  RELLIGIONNE  PATRVM. 

Height,  ii  ft.,  9 in.  Wklth,  13  ft.,  2 in. 

Mark  B'v’O 

II 

REBECCA  GIVING  DRINK  TO  ABRAHAM'S 
AMBASSADOR 

HIC  SERVO  OCVRRES  ABRAE  REBECCA  PEITTAM 
PREBET  POTVRO  SEDVLA  FONTIS  AQVAM 

Height,  12  ft.,  o in.  Width,  11  ft.,  o in. 

Signed  J 

III 

THE  FALSE  PROPHET  PREDICTING  VICTORY 

TO  KING  AHAB 

SEDERVNT  REGES  VNVSQVISQVE  IN  SOLIO  SVO 
VESTlTl  CVLTV  REGIO  ET  IN  CONSPECTV 
EORVM  PROPHETABANT  VNIVERSI  PROPHETE 

Height,  11  ft.,  8 in.  Width,  17  ft.,  5 in. 

Mark  15^9  Signed  & 

IV 

THE  DEATH  OF  AHAB 

VIR  QVIDAM  IN  INCERTVM  SAGITTAM 
DIRIGENS  CASV  PERCVSSIT  REGEM  ISRAEL 
INTER  PVLMONEM  ET  STOMACHVM 

Height,  ii  ft.,  8 in.  Width,  15  ft.,  2 in. 

MarkB^O  Signed  ck 

These  four  Flemish  tapestries  were  woven  about  the  middle  of 
the  XVI  century.  They  formed  parts  of  the  celebrated  Somzee 


73 


art  collection,  one  of  the  largest  and  most  varied  ever  made  by  a 
private  individual,  and  one  particularly  rick  in  Gothic  and  XVI 
century  tapestries.  The  collection  was  sold  in  Brussels  in  May, 
1901.  In  tbe  catalogue  published  at  that  time  there  is  a description 
of  these  four  tapestries  and  illustrations  of  three  of  them.  Their 
numbers  in  the  catalogue  are  542,  543,  545  and  546. 

The  names  woven  in  the  garments,  the  unusual  colors  in  the 
costumes  of  the  principal  personages  in  the  main  composition,  and 
the  mythological  character  of  the  figures  in  the  borders  are  very 
attractive  features.  That  they  were  woven  from  the  cartoons  of  the 
celebrated  court  painter  of  Charles  V,  who  drew  the  designs  for 
the  series  of  tapestries  known  as  the  “Conquest  of  Tunis,”  adds 
much  to  their  value  and  interest. 

In  the  first  tapestry,  Abraham,  clothed  in  a magnificent  costume, 
occupies  the  center  foreground.  The  infant  Isaac  is  presented  to 
him  by  a relative,  and  the  nurse  kneels  on  the  opposite  side.  Behind 
this  group  stand  a man  and  a woman.  In  the  right  center  plane 
Sarah  is  represented  in  bed,  and  one  of  two  nurses  holds  the  infant 
in  her  arms.  In  the  left  center  plane  Sarah  scolds  Isaac  and  Ishmael 
for  quarreling. 

The  second  piece  shows  Rebecca,  on  the  right,  ascending  the 
steps  of  a well,  while  Abraham’s  ambassador  receives  from  her  a 
pitcher  of  water.  One  of  his  companions  is  in  the  act  of  taking 
from  a chest  a rich  collar  of  gold  and  precious  stones,  and  behind 
him  stands  one  of  the  escort  in  armor,  holding  a lance  in  his  right 
hand.  From  behind  a mass  of  rocks  crowned  with  trees,  a man  leads 
a heavily  laden  camel.  The  personages,  like  those  in  the  first  taps 
estry,  are  clothed  in  ancient  costumes,  and  in  both  pieces  the  colors 
of  the  background,  soft  blues,  greens  and  yellows,  harmonize  won* 
derfully  with  the  more  intense  shades  of  the  costumes. 

Of  the  third  subject,  representing  the  false  prophet  predicting 
victory  for  King  Ahab  in  the  coming  battle  with  the  King  of  Syria, 
an  illustration  and  a full  description  are  given. 

The  battle  between  the  Israelites  and  Syrians  is  portrayed  in  the 
last  tapestry.  In  the  left  foreground  a soldier,  with  uncovered  head, 
sword  in  hand  and  shield  suspended  from  his  neck,  walks  toward 
an  archer  on  horseback,  who  is  accompanied  by  a soldier  wearing  a 
lion’s  skin  upon  his  head.  In  the  left  second  plane  a Syrian  archer 


74 


is  in  the  act  of  drawing  his  how,  and  behind  him  the  Syrian  hosts 
reach  far  hack  into  the  distance.  In  the  center  of  the  plane  a soldier 
has  overcome  his  adversary,  and  raised  his  arm  for  the  fatal  blow. 
Directly  behind  them  rides  Jehoshaphat,  at  the  head  of  his  troops. 
In  the  background,  on  the  extreme  right.  King  Ahab,  mortally 
wounded,  is  being  driven  in  his  chariot  from  the  field.  The  figures 
in  the  last  two  tapestries  wear  Roman  costumes.  The  coloring  is 
harmonious  and  similar  to  the  first  pieces.  All  are  woven  in  silk 
and  wool. 

The  borders  of  the  series  are  identical  in  coloring  and  general 
design,  but  the  first  pair  differs  materially  from  the  second  in  the 
arrangement  and  grouping  of  the  figures. 

In  the  center  of  each  top  border  of  the  Abraham  series,  upon  a 
blue  ground,  is  a Latin  inscription  describing  the  subject  of  the  taps 
estry.  In  the  center  of  the  bottom  borders  is  the  reclining  figure  of 
a sleeping  man  who  holds  a vase  of  flowers  and  leaves.  In  the  cen= 
ter  of  each  side  border  is  the  graceful  figure  of  a woman,  who  holds 
in  her  extended  hands  a light  blue  ribbon,  which  falls  in  a loop  below 
her  waist.  In  the  left-hand  lower  corner  is  the  figure  of  a woman, 
half  reclining  upon  an  antique  car,  with  an  infant  at  her  breast.  In 
the  right-hand  lower  corner  is  also  the  figure  of  a woman  reclining 
upon  a car,  with  a child  playing  at  her  knees.  Between  the  male 
and  female  figures  are  festoons  of  flowers,  fruits  and  leaves.  In  the 
upper  corners  bunches  of  leaves  and  fruits  are  tied  to  a baton  with 
ribbons.  The  decorative  band  on  each  side  of  these  borders,  which 
is  composed  of  a baton  entwined  with  convolvulus  upon  a rose 
ground,  is  an  artistic  addition  to  them.  All  the  colors  in  the  main 
compositions  are  repeated  in  the  borders. 

Somzee  Collection. 

Ffoulke  Collection,  1901. 


75 


Ill 

THE  FALSE  PROPHET  PREDICTING  VICTORY 

TO  KING  AHAB 

SEDERVNT  reges  vnvsqvisqve  in  solio  svo 

VESTlTl  CVLTV  REGIO  ET  IN  CONSPECTV 
EORVM  PROPHETABANT  VNIVERSI  PROPHETE 

Height,  ii  ft.,  8 in.  Width,  17  ft.,  5 in. 

Mark  BUS  Signed  A 

THE  subject  of  this  tapestry  is  taken  from  I Kings,  xxii  : 12.  In 
the  foreground,  on  the  right,  Ahab  and  Jehoshapbat,  each  wears 
ing  his  crown  and  carrying  his  sceptre,  and  clothed  in  his  robes  of 
state,  are  sitting  just  outside  the  city  gates.  Behind  them  stand  two 
warriors  armed  with  halberds.  A little  to  the  left  of  Ahab  is  Queen 
Jezebel,  with  two  of  her  maids  in  attendance.  The  false  prophet, 
Zedekiah,  accompanied  by  a little  hoy,  earnestly  addresses  the  kings. 
He  wears  a cap  upon  his  head,  has  a long  heard  and  red  mantle, 
and  carries  a staff  in  his  left  hand.  Directly  hack  of  him,  Micaiah, 
the  prophet  of  the  Lord,  raises  his  hand  in  protest.  In  the  rear  the 
other  prophets  are  crowded  closely  together.  The  background  is 
occupied,  on  the  right,  by  the  gate  of  the  city,  extending  from  which 
are  the  walls  and  battlements.  In  the  hilly  landscape  are  several 
chateaux,  and  on  the  extreme  left  are  the  soldiers  ready  for  combat 
against  the  Syrians. 

In  the  center  of  the  top  border  of  each  of  the  Ahab  tapestries  is  a 
Latin  inscription  describing  the  subject  of  the  tapestry.  In  the  cen? 
ter  of  each  bottom  border,  to  the  right  and  left  of  a vase  filled  with 
fruit  and  flowers,  are  the  sitting  figures  of  a bearded  man  and  a grace? 
ful  woman.  In  the  center  of  each  side  border  these  two  figures  are 
again  seen  in  close  proximity,  balanced  between  baskets  of  fruit 
and  leaves.  In  the  left?hand  lower  corner  a female  figure  is  seated 
in  a car  drawn  by  two  grotesque  camels.  Upon  her  raised  right 
hand  is  perched  a bird  of  gorgeous  plumage.  A similar  figure  occu? 
pies  the  right?hand  corner,  with  a car  drawn  by  two  attractive 
children.  In  each  of  the  upper  corners  is  the  standing  figure  of  a 
woman  with  extended  arms,  holding  a ribbon  which  falls  in  a loop 
below  her  waist.  The  band  on  each  side  of  the  borders  is  composed 
of  a baton  entwined  with  leaves. 

Ffoulke  Collection,  1901. 


76 


THE  DIANA  SERIES 

Cartoons  by  Du  Breuil 

I 

DIANA  STRINGING  HER  BOW 
Height,  13  ft.,  6 in.  Width,  10  ft.,  11  in. 

Mark  BUB  Signed  fR  an 

II 

DIANA  WOUNDING  A SATYR 
Height,  13  ft.,  5 in.  Width,  17  ft.,  2 in. 

Mark  BUB  Signed  |R  an 

hi 

A MAID  LACING  THE  SANDALS  OF  DIANA 
Height,  13  ft.,  3 in.  Width,  19  ft.,  5 in. 

Mark  BUB  Signed  |R  and  £ 

IV 

DIANA  WITH  AN  INFANT  UPON  HER  KNEES 
Height,  13  ft.,  7 in.  Width,  13  ft.,  o in. 

Mark  BUB  Signed  |R  and  £ 

V 

TWO  WOMEN  FLEEING  FROM  A DRAGON 
Height,  13  ft.,  6 in.  Wulth,  13  ft.,  2 in. 

Mark  BUB  Signed  |R  and  £ 

VI 

A WARRIOR  KILLING  A DRAGON 
Height,  13  ft.,  6 in.  WTith,  15  ft.,  4 in. 

Mark  BUB  Signed  |R  and  £ 


79 


VII 

A MAN  AND  A WOMAN  WALKING  IN  A GARDEN 
Height,  13  ft.,  5 in.  Width,  15  ft.,  2 in. 

Mark  BUB  Signed  f R and  £ 

VIII 

A MAN  AND  A WOMAN  SITTING  IN  AN  ARBOR 
Height,  9 ft.,  o in.  V/idth,  6 ft.,  3 in. 

These  tapestries  were  woven  in  Brussels  about  the  close  of  the 
XVI  century,  in  the  ateliers  of  Jacques  Geubels  and  Jean  Raes,  who 
justly  ranked  among  the  most  skillful  master  weavers  of  their  time. 
The  mark  of  Brussels  in  Brabant  is  woven  in  the  bottom  galon  of 
each  piece,  and  the  monograms  of  the  weavers  in  the  right?hand 
upright  galon ; that  of  Raes  in  the  top,  and  that  of  Geubels  in  the 
bottom  part. 

In  the  MSS.  XLVIII  in  Vol.  14 1,  preserved  in  the  Barberini 
library,  they  are  mentioned  as  having  been  “presented  by  the  most 
Christian  King  Louis  XIII  of  France  to  Cardinal  Barberini,  Legate 
to  France  1625.” 

Until  recently  the  linings  of  these  tapestries  bore  the  stamped 
monogram  of  Cardinal  Franfois  Barberini  and  also  that  of  Cardinal 
Antonio  Barberini,  hut,  becoming  too  tender  with  age  to  support 
the  weight  of  the  tapestries,  they  were  removed,  and  replaced  by 
modern  material. 

In  the  first  tapestry,  Diana,  facing  the  spectator,  strings  her  how. 
Her  imposing  figure  is  grandly  drawn,  and  she  is  magnificently  at* 
tired  in  a gown  of  striped  and  lustrous  silk,  over  which  is  draped  a 
mantle  of  changeable  colors,  embroidered  with  varied  and  peculiar 
designs.  The  crescent  gleams  above  her  forehead  and  a quiver  of 
arrows  is  at  her  back.  Two  handsome  dogs  are  nearby,  and  a few  of 
her  nymphs  are  bathing  in  a stream  which  flows  through  the  middle 
plane. 

In  the  next  piece  Diana  lowers  her  how,  and  turns  her  face  from 
a bearded  satyr  whom  she  has  wounded  with  an  arrow.  A fright? 
ened  hare  watches  her  movements  from  its  hiding  place,  and  in  the 
background  is  a palace  with  a group  of  people  in  front  of  it. 

80 


In  the  third  tapestry  Diana  sits  upon  a mossy  mound  at  the  base 
of  a tree  near  a stream.  Her  quiver  of  arrows  lies  upon  the  ground 
near  her,  and  a kneeling  maid  is  in  the  act  of  lacing  her  sandals.  The 
banks  of  the  stream,  which  flows  down  through  the  center,  are 
lined  with  trees. 

Diana  is  seen  in  the  fourth  tapestry  seated  upon  a reddish-brown 
rug,  beneath  a canopy  which  is  stretched  between  columns  sup- 
porting the  crumbling  arches  of  an  ancient  temple.  The  canopy  is 
weighed  down  in  the  middle  by  the  hide  of  a leopard  whose  head 
and  paws  hang  over  its  edge. 

In  the  right  field  is  a rushing  stream,  and  in  the  background  are 
mountains  with  ruined  temples  on  their  summits.  The  little  child 
in  the  arms  of  Diana  recalls  the  legend  that  she  not  only  punished 
mothers  who  abandoned  their  children  but  succored  their  offspring. 

In  the  fifth  tapestry  two  women  flee  from  a dragon,  who  rears, 
and  threatens  them  with  his  savage  claws.  The  following  one 
pictures  a majestic  warrior  who  has  mortally  wounded  the  dragon, 
which  now  lies  harmless  at  the  feet  of  an  attendant. 

A garden  forms  the  setting  of  the  seventh  tapestry,  where  a man 
and  woman  are  walking  together  engaged  in  earnest  conversation. 
His  arm  is  around  her  waist  and  he  wears,  over  a brown-red  tunic, 
a rich  yellow  mantle,  while  she  is  clad  in  a beautiful  green  tunic 
over  a robe  of  orange  with  designs  in  red. 

The  last  tapestry,  representing  only  two  figures,  a man  and  a wo- 
man sitting  side  by  side,  is  without  a border  and  has  been  reduced 
from  its  original  size.  Seven  pieces  only  were  included  in  the 
Barberini  series,  although  inventories  suggest  eight  original  tapes- 
tries. Some  years  ago  an  eighth  one  was  discovered,  and,  although 
bereft  of  its  border,  was  purchased  and  joined  to  the  series. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 

Now  in  the  possession  of  Larz  Anderson,  Esq. 


81 


II 

DIANA  WOUNDING  A SATYR 


Height,  13  ft.,  5 in.  Width,  17  ft.,  2 in. 

Mark  B^7B  Signed  |R  and  £ 

DIANA  stands  directly  in  the  center  of  the  tapestry,  dressed  in 
the  same  costume  in  which  she  is  pictured  in  all  the  other  pieces, 
a blue  robe  and  richly  embroidered  mantle.  Sandals  are  upon  her 
feet,  the  crescent  shines  above  her  forehead;  she  carries  a quiver 
of  arrows  upon  her  back,  and  in  her  right  hand  her  bow.  Upon  the 
right,  at  the  foot  of  a tree,  is  the  falling  figure  of  a satyr.  An  arrow 
shot  from  Diana’s  bow  pierces  his  side.  His  right  arm  is  raised  and 
he  supports  himself  with  his  left.  A hare,  half  hidden  by  leaves,  is 
in  the  foreground,  and  on  the  extreme  left  are  some  broken  bits  of 
architecture  with  lizards  creeping  in  and  out  between  them. 

In  the  background  on  the  left,  upon  a hill,  are  the  ruins  of  a palace 
with  some  people  and  dogs  in  front.  On  the  right  a church  and 
other  buildings  nestle  among  the  trees.  The  distant  view  of  forest 
and  water,  the  nearby  foliage  and  the  vines  and  leaves  are  minutely 
and  carefully  drawn  and  woven  in  soft,  delicate  and  harmonious 
greens.  Diana’s  costume  gives  to  the  tapestry  the  needed  touch  of 
rich  warm  color. 

The  border  consists  of  a beautiful  design  in  sepia  upon  a deep  red 
background.  It  is  composed  of  con  ventionalized  foliage  interspersed 
with  satyrs,  bacchantes  and  fauns.  In  the  two  upper  corners  are 
winged  female  busts,  and  in  the  two  lower  corners,  squatting  satyrs. 
In  the  center  of  both  top  and  bottom  borders  is  a pedestal  bearing 
the  armless  bust  of  a satyr,  supported  on  both  sides  by  satyrs,  bac* 
chantes  and  fauns.  The  whole  effect  is  exceedingly  rich  and  striking. 
Now  in  the  possession  of  Larz  Anderson,  Esq. 


82 


jT\.JT 


VI 

A WARRIOR  KILLING  A DRAGON 


Height,  13  ft.,  6 in.  Width  15  ft.,  4 in. 

Mark  Signed  and  £ 

NEAR  the  center  of  the  tapestry  stands  a warrior  wearing  upon 
his  head  a plumed  helmet.  Over  his  richly  decorated  coat  of 
mail  is  a cloak,  and  he  carries  a quiver  of  arrows  upon  his  back.  His 
right  hand  clasps  his  bow,  and  he  looks  toward  the  dragon  which  he 
has  just  wounded.  Its  dying  agonies  have  been  developed  with 
much  ability,  particularly  the  despairing  eyes,  stiffening  tail,  and 
gigantic  wings  still  outstretched  in  a last  effort  to  escape. 

An  attendant  withdraws  one  of  the  arrows  which  has  penetrated 
into  the  dragon’s  body  beneath  the  upraised  wing. 

The  beginning  of  the  fight  is  delineated  in  the  central  plane  to  the 
right.  A river  spanned  by  a bridge  of  masonry  is  on  the  left,  and  the 
ruins  of  an  antique  building  crown  the  hilltop  in  the  distant  hack? 
ground.  The  two  men  in  this  tapestry  are  well  drawn  and  finely 
posed,  and  exhibit  energy  and  movement.  The  colors  in  the  costume 
of  the  warrior  are  similar  to  those  in  that  of  Diana.  The  coloring 
of  the  landscape  is  the  same  as  in  all  the  other  pieces  of  the  series. 
There  are  no  strong  hues  except  those  used  in  the  costumes.  Every? 
where  else  the  tones  are  warm  and  dark. 

The  border  of  this  tapestry  is  alike  in  design  and  color  to  those 
surrounding  the  other  pieces. 

Now  in  the  possession  of  Larz  Anderson,  Esq. 


87 


THE  ARCHDUKES 
ALBERT  AND  ISABELLA  SERIES* 


i 

ISABELLA  RECEIVING  A MESSAGE 

Height,  13  ft.,  9 in.  Width,  15  ft.,  6 in. 

II 

ALBERT  PRESENTING  A CAPTURED  KNIGHT 

TO  ISABELLA 

Height,  13  ft.,  9 in.  Width,  15  ft.,  5 in. 

III 

ALBERT  PRESENTING  A SWORD  TO  THE 
CHIEF  OF  THE  ARMY 

Height,  13  ft.,  7 in.  Width,  15  ft.,  3 in. 

Mark  BUB  Signed  ^ 

IV 

ALBERT  PROMISING  TO  BE  GODFATHER 
TO  A NOBLEMAN’S  CHILD 

Height,  13  ft.,  7 in.  V/idth,  19  ft.,  8 in. 

Mark  BUB  Signed 

V 

ALBERT  RECEIVING  A HARE  FROM  A HUNTSMAN 

Height,  13  ft.,  7 in.  Wridth,  15  ft.,  o in. 

This  series  of  five  tapestries  was  woven  in  Brussels  near  the 
middle  of  the  XVI  century.*  The  monogram  of  the  weaver  appears 
in  the  right-hand  upright  galon  of  one  or  two.  On  the  backs  of  the 

* The  date  of  the  weaving  of  these  tapestries  has  been  lately  placed  by  excellent  authority  more  than  half 
a century  before  the  reign  of  the  Archdukes  Albert  and  Isabella  (1598).  The  monogram  on  the  third  piece, 
while  unknown,  appears  on  other  tapestries  of  the  XVI  century.  Unfortunately  no  history  of  this  series  before 
it  came  into  the  possession  of  the  Barberini  family  is  obtainable.  It  may  have  been  owned  at  one  time  by 
Albert  and  Isabella,  which  would  in  a measure  account  for  the  title  under  which  the  tapestries  have  long  been 
well  known. 


88 


old  linings,  in  black  letters,  was  traced  the  monogram  of  Cardinal 
Francois  Barberini  and  tbe  word  “GIRO.”  Unfortunately  tbe 
meaning  of  this  word  is  unknown. 

These  tapestries  appear  to  illustrate  events  of  historical  import 
tance  in  the  lives  of  the  personages  in  whose  honor  they  were 
woven.  The  quaint  backgrounds  of  hills  and  dales,  dotted  with  vil= 
lages,  houses  and,  sometimes,  fortresses,  are  all  alive  with  figures 
displaying  great  activity,  but  the  coloring,  of  a quiet  tone,  is  so 
harmoniously  blended  that  the  attention  is  not  distracted  from  the 
important  personages,  who,  clothed  in  the  rich  and  sumptuous  court 
costumes  of  the  reign  of  Charles  V,  occupy  the  foregrounds. 

In  the  first  and  second  tapestries  Isabella,  arrayed  in  magnificent 
court  robes,  and  surrounded  by  her  maids  of  honor,  is  the  central 
feature.  In  the  third,  Albert,  also  in  the  brilliant  court  costume  of 
his  era,  is  surrounded  by  his  knights.  In  the  fourth,  where  he  has 
just  issued  from  his  palace  accompanied  by  two  courtiers  and  a page, 
he  wears  the  same  costume  as  in  the  previous  piece.  Two  kneeling 
women  are  in  front  of  him,  one  holding  an  infant  in  her  arms.  A 
priest  and  a knight  are  standing  near.  In  the  last  tapestry,  a youths 
fill  prince,  attired  in  a sumptuous  costume  and  attended  by  two 
retainers,  is  in  the  act  of  receiving  a hare  from  a gamekeeper  who 
is  followed  by  a page  with  whip  in  hand,  and  dog  in  leash. 

The  Flemish  red,  green  with  yellow  high  lights,  and  dark  blue 
colors  that  predominate  in  this  series  have  all  become  wonderfully 
softened  and  mellowed.  Nothing  has  faded,  but  every  color  has 
been  lowered  in  tone  and  harmonized.  Great  artists  did  their  best, 
and  time  perfected  their  work. 

The  borders  consist  of  rich  designs  on  a background  of  reddish 
brown.  There  are  flowers,  leaves  and  fruits  tied  with  ribbons  in 
bouquets  upon  the  trunk  of  a palm  tree.  From  the  corners  of  the 
bottom  borders  spring  bunches  of  palm  leaves  tied  with  ribbons  and 
ringed  with  ropes  of  flowers.  In  some  of  the  lower  borders  are 
two  birds. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 

Now  in  the  possession  of  Mrs.  John  Lowell  Gardner. 

A duplicate  of  No.  I remains  in  the  Ffoulke  Collection. 


89 


I 

ISABELLA  RECEIVING  A MESSAGE 

Height,  13  ft.,  9 in.  Width,  15  ft.,  6 in. 

IN  the  first  tapestry,  of  which  the  illustration  is  given,  Isabella  is 
represented,  a little  to  the  left,  standing  upon  a dais,  and  holding  a 
sceptre  in  her  right  hand;  her  left  hand  is  extended  towards  a knight 
who  kneels  at  her  feet.  She  wears  a magnificent  gown  beautifully 
embroidered  in  arabesque  designs,  with  color  effects  in  red,  brown, 
and  green.  One  of  the  three  maids  of  honor  stationed  behind  her 
holds  the  long  blue  train  which  falls  from  her  shoulders.  In  the  rear, 
stand  a man  and  woman  engaged  in  earnest  conversation. 

The  kneeling  knight  is  booted  and  spurred,  and  wears  a picture 
esque  costume.  He  delivers  his  message  with  uncovered  head  and 
extended  arms,  and  holds  his  plumed  hat  in  his  left  hand.  Behind 
him  a soldier  holds  his  horse  and  is  evidently  telling  the  story  of 
their  journey  to  the  knight  on  the  right,  who  listens  with  marked 
attention.  The  near  center  field  is  occupied  by  an  ornamental 
column;  to  the  left  rise  the  walls  of  a palace.  The  towers  of  a dis* 
tant  city  loom  up  in  the  far  background,  and  somewhat  nearer, 
cavalry  and  infantry  cross  the  bridge  which  spans  a stream  that 
meanders  through  the  center  field. 

There  is  a duplicate  of  this  tapestry,  and  it  is  not  known  why 
two  pieces  of  the  same  subject  should  have  been  retained  in  the 
Barberini  Collection,  unless  one  piece  was  copied  in  order  that  all 
the  wall  spaces  of  some  room  in  the  palace  might  be  covered  with 
the  tapestries  of  one  series. 

The  duplicate  of  this  tapestry  remains  in  the  Ffoulke  Collection. 


90 


. 


JOSEPH  AND  HIS  BRETHREN 

i 

JOSEPH'S  BRETHREN  SELLING  HIM  TO  THE 

ISHMAELITES 

Height,  ii  ft.,  4 in.  Width,  17  ft.,  6 in. 

Mark  BUS  Signed  im!l> 

II 

JOSEPH  RULER  OVER  ALL  THE  LAND  OF  EGYPT 
Height,  11  ft.,  6 in.  Width,  20  ft.,  8 in. 

Mark  BUI  Signed  1M 

THESE  tapestries  were  woven  in  Flanders  during  the  first  half 
of  the  XVI  century,  under  one  of  the  great  master  weavers  of 
that  time.  Weavers’  marks  are  on  both  tapestries,  hut  the  mono? 
grams  differ.  The  figures  in  these  two  pieces  are  well  drawn,  and 
gracefully  posed,  and  the  costumes  rich  and  warm  in  color.  The 
compositions  are  full  of  life  and  movement  and  at  the  same  time 
dignified  and  impressive. 

The  weaving  of  the  tapestries  and  of  the  beautiful  Raphaelesque 
borders  has  been  most  carefully  done,  every  little  detail  having  re? 
ceived  the  same  attention  as  the  more  important  parts. 

The  first  piece  shows  Joseph  being  lifted  from  the  pit  in  order 
that  his  brothers  may  sell  him  to  the  Ishmaelite,  who  is  in  the  act 
of  paying  Judah  the  price  agreed  upon.  Both  are  well?built,  fine? 
looking  men.  Seven  of  the  brothers  participate  in  the  sale  of  Joseph. 
Four  others  are  engaged  in  dipping  his  coat  of  many  colors  in  the 
blood  of  a goat,  and  in  the  distance  Reuben  walks  away.  Behind 
the  Ishmaelite  are  two  men  and  camels.  Three  sheep  occupy  the 
left  foreground. 

The  tapestry  illustrated  is  in  marked  contrast  to  the  first,  for  in  it 
Joseph  is  represented  at  the  height  of  his  glory  and  power ; he  stands 
in  a chariot,  a gold  chain  about  his  neck  and  the  baton  of  a ruler  in  his 
right  hand.  He  wears,  over  his  pale  green  tunic,  a violet  mantle,  and 
is  attended  by  several  trumpeters  and  a bodyguard,  consisting  of  a 
mounted  officer  and  some  foot  soldiers  carrying  standards.  A winged 


95 


goddess  holds  a crown  of  laurel  above  bim  witb  one  band,  and  in 
tbe  other  carries  a palm  branch,  emblems  of  Fame  and  Peace.  People 
in  tbe  rear  “bow  tbe  knee,”  as  was  commanded  by  Pharaoh.  An 
officer  and  a lady  stand  on  tbe  right  of  tbe  chariot.  Tbe  former  wears 
a plumed  helmet,  a rose  tunic,  and  blue-green  mantle,  and  tbe  latter 
a straw-colored  robe  witb  long  sleeves,  and  coat  of  pale  red.  These 
two  figures  look  as  if  they  might  be  tbe  portraits  of  those  who 
ordered  tbe  tapestries.  Tbe  woman  and  child  seated  at  their  feet 
are  Italian  in  type  and  character.  In  tbe  right  foreground  a tur- 
baned  Egyptian  is  in  earnest  conversation  witb  an  officer  in  Roman 
costume.  In  tbe  second  plane  Joseph  superintends  tbe  men  binding 
sheaves  of  grain  and  loading  tkein  on  wagons.  Further  in  tbe  rear  be 
receives  bis  brothers. 

There  are  many  features  in  tbe  borders  of  these  tapestries  which 
remind  one  strongly  of  Raphael’s  great  works  in  tbe  Vatican.  Tbe 
foundation  upon  which  tbe  motives  are  placed  is  a dark  reddish 
brown,  shading  to  ivory  in  tbe  high  lights.  In  tbe  top  borders  vari- 
ous birds  are  perched  among  tbe  several  festoons  of  flowers,  fruits 
and  leaves,  which  are  separated  by  grotesque  masks,  some  witb  red 
and  others  witb  blue  draperies.  Blue  and  red  ribbons  extend  from 
tbe  masks  and  flutter  over  tbe  festoons.  In  tbe  center  of  tbe  bottom 
borders  is  a rectangular  cartouche  highly  colored.  It  encloses  within 
a rose-tinted  drapery  tbe  figure  of  a woman  representing  Gentleness, 
in  tbe  first  tapestry,  and Wisdom,  in  tbe  second.  On  each  side  of  this 
cartouche  are  festoons  of  flowers,  fruits  and  leaves,  witb  ribbons 
fastening  them  together  and  birds  in  their  midst.  In  tbe  lower  cor- 
ners of  tbe  borders  are  satyr  beads  witb  drapery  beneath  them,  and 
above  them,  in  tbe  lateral  borders,  vases  filled  witb  flowers.  These 
vases  of  fruits  or  flowers  rise  tier  upon  tier,  until  they  unite  witb 
tbe  motives  of  tbe  top  border.  In  tbe  center  of  each  lateral  border 
tbe  uniformity  of  tbe  general  design  is  broken  by  tbe  well-drawn 
bead  of  a man,  on  tbe  blue  rim  of  whose  bat  stand  two  birds,  while 
from  tbe  crown  rises  a bouquet  of  palm  leaves  and  blue  irises.  Tbe 
borders,  like  others  of  tbe  period,  are  narrower  at  tbe  top.  In  order 
to  appreciate  tbe  wealth  of  detail  they  contain,  much  careful  study 
would  be  required. 

Prince  Rospigliosi,  Rome. 

Ffoulke  Collection,  1904. 


96 


FLEMISH  RENAISSANCE  SERIES 

i 

ARBOR  ON  FOUR  COLUMNS,  AND  A NEGRO 
Height,  ii  ft.,  5 in.  "Width,  8 ft.,  5 in. 

II 

ARBOR  ON  FOUR  COLUMNS,  AND  A GARDENER 
Height,  11  ft.,  5 in.  Width,  8 ft.,  6 in. 

Mark  B^B 

III 

ARBOR  ON  FIVE  COLUMNS,  AND  TWO  WOMEN 
Height,  11  ft.,  5 in.  Wddth,  10  ft.,  8 in. 

MarkB'CD  Signed 

IV 

ARBOR  ON  FOUR  COLUMNS,  AND  TWO  WOMEN 
Height,  11  ft.,  3 in.  Wddth,  6 ft.,  11  in. 

These  tapestries,  which  were  woven  in  Flanders  near  the  close 
of  the  XVI  century,  are  almost  entirely  of  silk.  One  of  them  hears 
the  Brussels  mark  and  the  monogram  of  the  weaver. 

They  are  purely  decorative,  with  lovely  landscape  scenes  com 
taining  chateaux  and  villages,  and  are  animated  with  birds  and 
animals  of  many  kinds. 

The  predominant  tone  is  a delicate  yellow  into  which  light  blues 
and  greens  dissolve  with  exquisite  harmony.  The  borders  in  tone 
and  coloring  are  the  same  as  the  tapestries ; at  the  top  they  repre? 
sent  the  sky  and  the  birds  of  the  air;  at  the  sides,  landscapes  and 
animals;  at  the  bottom,  the  sea  and  fishes. 

Gambarra  Palace,  Venice. 

Ffoulke  Collection,  1904. 

Now  in  the  possession  of  Larz  Anderson,  Esq. 


97 


I 

ARBOR  ON  FOUR  COLUMNS,  AND  A NEGRO 
Height,  ii  ft.,  5 in.  Width,  8 ft.,  5 in. 

IN  this  tapestry  four  fluted  columns  with  Corinthian  capitals  sup= 
port  an  arbor  covered  with  grapes  and  leaves.  On  the  light  blue 
platform,  inlaid  with  variously  tinted  triangles,  which  supports  the 
columns,  stands  a vase  decorated  with  a winged  head,  and  handles 
of  grotesque  figures,  and  filled  with  delicately  toned  flowers  and 
leaves.  In  the  right  foreground  stands  a negro,  who  holds  a spear  in 
his  right  hand,  and  wears  a red  mantle  over  a tunic  of  blue  with 
designs  in  yellow.  In  the  distant  background  a castle  crowns  a hill, 
and  high  mountains  rise  beyond. 

All  the  tapestries  of  the  series  are  alike  in  architectural  design, 
and  the  composition  of  their  borders.  Unfortunately  the  left-hand 
border  of  the  fourth  tapestry  is  missing. 

Now  in  the  possession  of  Larz  Anderson,  Esq. 


98 


SCENES  IN  THE  LIFE  OF  KING  HEZEKIAH 

i 

KING  HEZEKIAH  SACRIFICING  BEFORE  THE 
ALTAR  OF  THE  LORD 
Height,  n ft.,  8 in.  Width,  15  ft.,  1 in. 

MarkBtJi  Signed  tM 
II 

THE  ANGEL  OF  THE  LORD  SMITING  THE 
ASSYRIAN  CAPTAINS 
Height,  11  ft.,  8 in.  Width,  15  ft.,  1 in. 

MarkB^B  Signed  CAS) 

THESE  tapestries  were  woven  in  Flanders  during  the  second 
half  of  the  XVI  century.  The  illustration  given  of  the  first 
tapestry  represents  King  Hezekiah,  wearing  a blue  mantle,  standing 
with  his  left  hand  extended  towards  the  high  altar  and  his  right  to= 
wards  the  Hebrews  who  are  bringing  sheep  and  lambs  for  sacrifice. 
In  the  bottom  of  his  tunic  are  woven  the  letters  ESECHIAH.  Two 
priests,  one  wearing  a blue,  and  the  other  a red  tunic,  stand  at  the 
altar;  the  one  on  the  left  holds  a lamb  ready  for  sacrifice.  Behind 
the  king  are  two  rulers  of  the  city,  and  three  musicians  blowing 
their  horns.  A kneeling  man,  in  the  act  of  killing  a ram,  occupies 
the  right  foreground;  and  a kneeling  woman,  holding  a basket  of 
fruit,  the  left. 

The  second  tapestry  represents  the  battle  against  the  Assyrians. 
In  the  distance  are  tents  and  warriors.  Upon  the  battlefield,  strewn 
with  the  slain,  two  officers  are  engaged  in  deadly  combat,  while 
above  their  heads  the  Angel  of  the  Lord  with  flaming  sword  rushes 
upon  the  Assyrians.  This  tapestry  was,  presumably,  restored  in 
France,  for  in  the  mark,  which  is  not  entirely  original,  there  appears 
a fleur^dedis  between  the  two  B s. 

The  costumes  in  both  tapestries  are  woven  in  those  rich,  warm 
and  lustrous  colors  for  which  the  Flemish  weavers  were  famous, 
deep  greens,  with  yellow  lights ; dark  blues,  with  sky-blue  lights; 
and  reds  with  rosy  lights. 

The  borders  are  composed  of  flowers,  fruits  and  leaves,  and  repeat 
the  colors  of  the  main  compositions  in  a very  artistic  and  decorative 
manner. 

Ffoulke  Collection,  1904. 

Now  in  the  possession  of  Donna  Josephine  del  Drago. 

103 


CHATEAU  AND  GARDEN  SCENES 

i 

MUSIC 

Height,  15  ft.,  o in.  Width,  13  ft.,  10  in. 

Mark  1^73  Signed 

II 

BOATING  AND  HUNTING 
Height,  15  ft.,  o in.  V/idth,  11  ft.,  4 in. 

Mark  P ^ Signed  Jj) 

III 

THE  FOUNTAIN 
Height,  15  ft.,  o in.  Width,  12  ft.,  8 in. 

MarkP^  Signed  0 

IV 

GARDENS 

Height,  15  ft.,  o in.  Width,  14  ft.,  2 in. 

Mark  BU3  Signed  £ 

These  four  tapestries  originally  belonged  to  Cardinal  Antonio 
Barberini,  nephew  of  Pope  Urban  VIII  and  Grand  Prior  of 
France.  He  died  in  France,  1671,  and  left  directions  in  his  will  that 
his  tapestries  should  he  sent  to  Rome  and  incorporated  in  the  collec- 
tion  of  the  Barberini  family.  The  first  and  fourth  pieces  were 
woven  early  in  the  XVII  century  in  the  atelier  of  Jacques  Geubels 
at  Brussels.  His  monogram  appears  on  the  right-hand  galon  of  each, 
and  the  mark  of  Brussels  on  the  bottom.  The  second  and  third  were 
woven  nearer  the  middle  of  the  XVII  century  in  Paris  by  Raphael 
de  la  Planche,  who  left  the  Gobelins  after  the  death  of  his  father  and 
established  himself  in  the  faubourg  Saint  Germain  in  1634.  Both 
bear  the  monogram  of  de  la  Planche  and  the  P and  fleur-de-lis  of 
France. 


It  is  not  known  why  two  of  this  series  were  executed  in  Brussels 
and  two  in  Paris,  but  it  is  presumed  that  tbe  Grand  Prior  bought  tbe 
two  Flemish  pieces  of  Geubels,  and,  desiring  more  of  tbe  same  style 
and  character,  ordered  them  woven  by  de  la  Planche  in  Paris,  where 
he  was  residing. 

Each  tapestry  represents  a chateau  in  the  background,  a garden 
in  the  center  plane,  and  in  the  foreground,  the  family  of  the  proprie? 
tor,  amusing  itself  beneath  an  immense  arbor  supported  by  cary= 
atides.  Of  the  first  tapestry  an  illustration  and  full  description  are 
given.  In  the  second,  the  arbor  spanning  the  upper  plane  is  supported 
by  four  caryatides,  and  is  covered  by  a grapevine.  There  is  a stream 
in  the  foreground,  and  three  people,  on  its  further  bank,  are  watching 
a boat,  occupied  by  four  people,  as  it  glides  by.  On  the  nearer  shore 
a huntsman  has  raised  his  cross-bow  in  order  to  shoot  a hare,  while 
his  dog  pursues  it. 

In  the  third,  the  arbor  is  supported  by  eight  caryatides  and  is 
covered  by  vines  of  the  lemon  instead  of  the  grape.  From  the  cha= 
teau  in  the  background  a wide  path  stretches  down  through  the 
French  garden  to  a beautiful  fountain  in  the  foreground.  There  are 
a number  of  small  figures,  courtiers  and  ladies,  amusing  themselves, 
two  gardeners,  and  a couple  of  dogs  at  play. 

In  the  last  tapestry  the  arbor,  supported  by  four  caryatides,  is  cov= 
ered  by  vines,  and  has  the  figure  of  an  eagle  in  the  center  at  the  top. 
Three  couples  are  promenading  in  the  garden,  and  two  women 
are  engaged  in  watering  the  plants  and  flowers.  In  the  foreground 
a gamekeeper  holds  a dog  in  leash;  the  master  and  mistress  of  the 
chateau  walk  toward  the  spectator,  and  a couple,  seated  on  the 
ground  near  them,  play  with  a dog. 

This  series  has  very  attractive  decorative  qualities  and  is  highly 
interesting  on  account  of  the  natural  way  in  which  it  illustrates  the 
homes,  gardens  and  out^of  door  amusements  of  the  old  European 
nobility. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 

Now  in  the  possession  of  Mrs.  John  Lowell  Gardner. 


I 

MUSIC 

Height,  15  ft.,  o in.  'Width,  13  ft.,  10  in. 

Mark  8^78  Signed  £ 

IN  this  tapestry  an  arhor,  filling  the  whole  upper  plane,  is  divided 
into  three  sections,  supported  by  eight  caryatides,  and  all  standing 
upon  pedestals,  six  of  which  are  female  and  two  male.  The  central 
opening  is  rounded  at  the  top  and  the  other  two  are  pointed.  The 
summits  of  all  are  crowned  hy  vases  of  flowers.  There  are  also  vases 
of  flowers  at  the  points  where  these  arches  intersect  each  other. 

The  entire  central  plan  is  occupied  hy  a small  chateau,  and  an  ex* 
tensive  French  garden,  partially  surrounded  hy  an  arhor.  A fountain 
plays  in  the  center  of  the  garden.  In  the  foreground,  beneath  the 
middle  arch,  a man  playing  upon  a guitar  is  seated  near  a woman, 
who,  while  caressing  a dog  upon  her  lap,  listens  attentively.  A secs 
ond  couple,  arm  in  arm,  approach  through  the  left-hand  opening, 
and  a hunter  with  falcon  and  game-bag,  and  two  dogs,  approaches 
through  the  right-hand  opening.  A peacock  and  a peahen  strut 
among  the  flowers.  The  costumes  worn  in  all  the  tapestries  are  of 
the  era  of  Henry  IV. 

The  prevailing  colors  are  soft  yellows  and  greens,  with  some 
brighter  touches  in  the  costumes. 

In  the  center  of  each  top  and  bottom  border  is  a vase  of  flowers, 
upon  each  side  of  which  are  festoons  of  leaves,  flowers  and  fruits, 
reaching  from  the  center  to  the  corners,  and  attached  at  both  ends 
by  reddish  colored  ribbons.  The  motive  in  each  bottom  corner  con- 
sists of  a vase  of  flowers  and  leaves,  and  that  in  each  top  corner,  of 
a pendant  bouquet  of  fruit  and  leaves.  The  motives  of  the  lateral 
borders  consist  of  three  bouquet  holders  of  architectural  design, 
from  each  of  which  springs  or  falls  a cascade  of  leaves,  flowers  and 
fruit.  The  foundation  color  of  the  border  is  a soft  yellow,  toned  by 
age.  The  motives  are  alike  in  the  borders  of  all  the  tapestries,  but 
there  is  a slight  difference  in  drawing  and  treatment  between  the 
Flemish  and  French  ones. 

Now  in  the  possession  of  Mrs.  John  Lowell  Gardner. 


106 


I 


FLEMISH  RENAISSANCE  PANELS 
Height,  6 ft.,  9 in.  Width,  2 ft.,  7 in. 

Mark  BE  Signed  J 

THESE  sixteen  pieces,  illustrating  four  different  designs,  were 
woven  in  the  early  part  of  the  XVII  century  under  Jacques 
Geuhels  and  Jean  Raes.  The  monogram  of  the  former  appears  on 
one  of  them. 

In  the  first  design  the  dignified  figure  of  a woman  stands  beneath 
an  arch  of  green  stone-work  from  which  swings  a small  baldaquin. 
She  wears  a head-dress  ornamented  with  a crescent,  a red  robe  and 
green  mantle,  and  holds  her  hands  in  a protecting  manner  over  the 
four  little  children  grouped  at  her  feet.  Two  cherubs  cling  to  the 
pedestal  upon  which  she  and  the  children  are  posed  and  from  which 
swing  two  inverted  bouquets  of  flowers,  grapes  and  leaves.  Beneath 
the  tiny  festoon  of  variegated  volutes  which  drops  behind  her  head 
is  the  woven  word  foecunditas. 

In  the  second  design  a woman  with  folded  arms  stands  beneath 
the  stone  arch  and  baldaquin.  A bird  is  perched  upon  her  shoulder 
and  an  animal  is  at  her  side.  Behind  her  and  just  above  her  feet  are 
the  woven  words  bona,  ritas.  hi  other  respects  this  panel  is  alike 
in  style,  character,  and  accessory  decorations  of  cherubs,  grapes, 
and  leaves,  to  the  preceding  one,  and  is  in  complete  harmony  with  it. 

In  the  third  design  a woman  stands  beneath  an  arch  of  stone- work 
with  swinging  baldaquin  similar  to  the  one  already  described.  She 
carries  a lamb  in  her  arms  and  beneath  her  feet  is  woven  the  word 
mansueTvdo.  In  the  base  of  this  panel  is  the  bust  of  a woman  with 
vari-colored  wings,  rising  from  an  ornamental  tripod  and  holding 
red  ribbons  in  her  extended  hands.  The  side  decorations  of  these 
tripods  are  winged  busts  holding  small  pots  above  their  heads. 

In  the  fourth  design  the  woman  standing  beneath  the  stone  arch 
and  baldaquin  has  large  bouffant  sleeves.  Near  her  is  a cock.  Be- 
neath her  feet  is  woven  the  word  zelotypia.  The  base  of  this  panel 
is  similar  in  style  and  character  to  the  third  design.  All  the  panels 
are  alike  in  texture  and  coloring,  yet  there  is  a charming  variety 
in  their  details  which  adds  much  to  their  beauty  and  artistic  im- 
portance. 

Foulke  Collection,  1893. 

Five  are  now  in  the  possession  of  Mrs.  E.  H.  Harriman. 

Three  are  owned  by  Eugene  Hewlett,  Esq. 

Four  by  Mrs.  F.  T.  Bradbury. 


THE  MOSES  AND  AARON  SERIES 


i 

MOSES  AND  ZIPPORAH 
Height,  13  ft.,  10  in.  Width,  13  ft.,  1 in. 
Mark  Signed  ^ 


II 

MOSES  INFORMING  AARON  OF  GOD’S 
MESSAGE  TO  PHARAOH 

Height,  13  ft.,  10  in.  Width,  17  ft.,  o in. 

Mark  iOJ  Signed  ^ 


III 

MOSES  AND  AARON  INSTITUTING  THE  FEAST 

OF  THE  PASSOVER 

Height,  14  ft.,  1 in.  Width,  17  ft.,  o in. 

Mark 

IV 

GATHERING  MANNA.  MOSES  DIRECTING  AARON 
TO  KEEP  AN  OMER  OF  IT 

Height,  14  ft.,  1 in.  Wulth,  17  ft.,  4 in. 

Signed  ^ 

V 

JOSHUA  DEFEATING  AMALEK.  BATTLE  IN 

REPHIDIM 

Height,  13  ft.,  10  in.  WHth,  20  ft.,  8 in. 

Mark  B^7B  Signed  ^ 


112 


VI 


MOSES  RECEIVING  THE  TABLETS  OF  STONE 
ON  MOUNT  SINAI 


Height,  13  ft.,  11  in.  Width,  14  ft.,  1 in. 
Mark  BUB  Signed 


These  tapestries  were  woven  in  Brussels  during  the  first  half  of 
the  XVI  century.  A monogram  attributed  to  Pierre  Van  Aelst 
appears  on  three  of  them.  He  also  wove,  from  Raphael's  cartoons, 
the  celebrated  series  of  the  “Acts  of  the  Apostles.”  In  the  Moses 
and  Aaron  tapestries  the  successful  grouping  of  the  noble  and  dignk 
fied  figures  and  their  earnest  and  expressive  faces  prove  that  the 
cartoons  from  which  they  were  woven  were  executed  by  a skillful 
and  able  master. 

In  the  foreground  of  the  first  tapestry  Moses  and  Zipporah 
approach  each  other,  the  former  carrying  two  lambs  in  his  arms. 
He  is  a finedooking  man  and  wears  a rich  costume  of  blue  with  red 
collar,  over  which  is  a red  mantle.  Zipporah  wears  a rose^colored 
dress  and  green  mantle.  A rosescolored  veil  partly  covers  her  hair 
and  falls  over  her  left  shoulder.  In  the  left  background  is  a Flemish 
house,  and  near  it  a well  with  an  oldTashioned  bucket,  by  the  side 
of  which  two  women  are  standing. 

The  second  and  third  tapestries  are  illustrated  and  full  descrip= 
tions  are  given.  The  fourth  represents  the  gathering  of  manna.  In 
the  right  foreground  stands  the  magnificent  figure  of  Moses  carrying 
his  rod  in  his  left  hand  and  with  his  right  extended  in  benediction. 
His  pale  red  mantle  is  gracefully  draped  over  his  blue  tunic.  On  the 
left,  facing  him,  stands  Aaron  with  right  hand  extended.  He  wears 
a red  turban,  veil  and  a bluesgreen  tunic.  Near  them  a man  and 
a woman  are  filling  a copperscolored  amphora  with  manna,  and  in 
the  center  field  eleven  men  and  women  are  gathering  manna.  In 
the  background  are  the  tents  of  the  Hebrews,  a long  range  of  hills 
and  several  clumps  of  trees. 

The  battle  of  Rephidim  is  most  successfully  portrayed  in  the  fifth 
tapestry,  where  the  hand-to-hand  struggle  of  the  contending  forces 
is  very  realistic.  The  commander  of  the  Hebrew  forces,  Joshua,  is 


*This  same  mark  appears  upon  a “Life  of  Abraham”  (Vienna)  and  upon  a “History  of  Ulysses” 
(Hardwicke  Hall,  England). 


n3 


the  prominent  figure  on  the  left.  He  is  clad  in  armor  and  wears  a 
steel  helmet.  His  sword  is  raised  above  his  head  and  with  his  left 
hand  he  holds  back  the  arm  of  Amalek,  whom  he  is  forcing  to  the 
ground.  Fighting  warriors  are  everywhere  and  wounded  men  lie 
upon  the  ground.  In  the  center  field  a standard  hearer  pushes  for? 
ward  with  a large  waving  flag.  On  the  left,  near  the  top  of  the 
tapestry,  Moses,  Aaron  and  Hur  kneel  beside  a stone  altar.  The 
hands  of  Moses  which  are  uplifted  in  prayer,  are  supported  by 
Aaron  and  Hur. 

In  the  last  of  the  series  the  Creator  is  represented  floating  upon  a 
cloud,  with  His  right  hand  pointing  to  the  tablets  of  stone  which  are 
held  by  two  winged  angels  and  bear  the  following  inscriptions : 

V N V HABE 

CRE  AS 

DE  IN 

DEVM  HONO 

XX 

NEC  PAREM 

IV  ES 

RES 
N ANE 

The  Creator  is  represented  as  fulbbearded,  with  benign  features, 
and  He  wears  a red  robe  and  a blue  mantle.  Moses,  with  outstretched 
hands,  kneels  before  the  vision  and  gazes  upward  in  rapt  ecstacy. 
In  the  right  second  plane  he  appears  again  as  having  descended 
from  Mount  Sinai  and  holding  the  tablets  of  stone  in  his  hand.  His 
descent  is  watched  by  Aaron  and  Hur.  In  front  of  them  are  a few 
sheep,  and  behind  them  a number  of  Hebrew  men  and  women  dance 
around  the  golden  calf. 

The  colors  in  these  tapestries  are  soft  and  warm,  and  shade  into 
each  other  with  that  harmony  for  which  the  early  Flemish  tapes* 
tries  were  famous.  The  Gothic  reds,  high  lights  in  yellow,  and  skill* 
ful  hatching  of  the  colors  plainly  indicate  the  era  in  which  these 
tapestries  were  woven  and  the  country  of  their  origin. 

In  all  the  tapestries  the  rich  borders  repeat  the  colors  used  in  the 
subjects  they  enclose.  In  the  top  borders,  which  are  not  more  than 
half  the  width  of  the  side  and  bottom  borders,  are  hunches  of  flowers. 


fruits  and  leaves,  attacked  at  intervals  witk  blue  and  red  rikkons  to 
a rope  woven  of  laurel  leaves. 

An  allegorical  figure  occupies  tke  center  of  eack  bottom  border 
and  female  figures  seated  upon  small  decorated  cars  occupy  tke 
lower  corners.  Tke  center  subjects  differ  in  eack  tapestry;  tkose  in 
tke  corners  vary  but  slightly.  In  tke  top  of  eack  lateral  border  is  a 
standing  female  figure,  bolding  in  extended  bands  a blue  ribbon  witk 
tasselled  ends,  wbicb  falls  in  a loop  below  tke  waist  line.  In  drawing 
these  figures  are  all  alike  but  the  colors  of  their  robes  vary. 

Between  the  above-mentioned  motives  in  the  lateral  and  bottom 
borders  are  bouquets  of  flowers,  fruits  and  leaves.  In  the  bottom  of 
some  of the  lateral  borders  are  birds,  apparently  intended  for  pelicans. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 


II 


MOSES  INFORMING  AARON  OF  GOD’S 
MESSAGE  TO  PHARAOH 

Height,  13  ft.,  10  in.  Width,  17  ft.,  o in. 

Mark  t>0<J  . Signed  ^ 

IN  the  left  foreground,  before  a well,  stands  the  imposing  figure  of 
Aaron  listening  with  rapt  and  fearful  attention  to  the  message  of 
Moses.  He  wears  a full  heard,  and  in  the  fashion  of  ancient  Egypt,  a 
turhan  of  red  velvet,  from  which  a veil  of  orange  yellow  falls  to  his 
shoulders,  a green  tunic  showing  yellow  lights,  and  red  hoots  striped 
with  yellow.  The  figure  of  Moses,  even  more  impressive  than  that 
of  Aaron,  occupies  the  center  of  the  tapestry.  He  holds  his  rod  in  his 
left  hand  and  extends  his  right  with  emphatic  earnestness.  He  has 
light  curling  hair  and  heard,  and  wears  a blue  tunic  with  light  red 
collar  apparently  embroidered  in  silver.  A red  mantle,  draped  over 
his  right  shoulder,  is  tucked  into  a cord  at  his  waist;  his  sandals  and 
leggings  are  blue. 

In  the  left  center  plane  are  four  men  grouped  around  a pile  of 
stones  on  which  are  placed  provisions.  Behind  Moses  and  Aaron 
are  two  men  engaged  in  a heated  argument.  In  the  right  second 
plane  two  couples  express  their  delight  at  meeting  by  kissing  each 
other.  They  evidently  are  intended  to  represent  Moses  and  Aaron 
greeting  their  wives  who  bend  their  knees  before  them.  In  the  right 
background  are  some  sheep  and  tents  before  which  four  women  are 
seated  and  two  men  standing. 

Ffoulke  Collection,  1889. 


116 


<Uaj>moJL 


r*ter  r*r%r  r-),'* 


.'4  f *r  • r*  r * r r7.; 


9 


Ill 

MOSES  AND  AARON  INSTITUTING  THE  FEAST 
OF  THE  PASSOVER 

Height,  14  ft.,  1 in.  Width,  17  ft.,  3 in. 

Mark  BUB 

THE  inauguration  of  this  feast  is  being  held  in  the  loggia  of  a mag* 
nificent  temple.  The  walls  indicate  malachite  with  grotesque  de* 
signs  in  yellow.  The  shaft  of  the  column  in  the  foreground  appears 
to  he  of  Oriental  alabaster  with  the  base  in  malachite.  The  floor  is 
a mosaic  of  beautiful  marbles. 

On  the  extreme  left  the  high  priest,  Aaron,  bends  over  the  figure 
of  Moses  and  blesses  him. 

Moses  kneels,  with  bowed  head  and  hands  crossed  upon  his  breast, 
before  a table  with  bronze  dragon  feet  and  covered  by  a white  cloth 
having  a pale  blue  design.  A quarter  of  a lamb  in  a silver  dish  and 
bread  and  wine  are  on  the  table.  The  costume  of  Moses,  in  drawing 
and  color,  is  the  same  in  this  tapestry  as  in  all  the  others,  but  that  of 
Aaron  is  richer.  His  robe  of  pale  yellow  with  fine  embroidery  is 
partly  covered  by  a long  blue  mantle. 

The  wife  of  Moses  stands  directly  behind  him.  She  has  a light 
blue  dress  and  green  mantle.  Descending  the  stairs  on  the  left  of  the 
column  is  the  figure  of  a man  richly  clad  and  holding  in  his  hand  a 
platter  of  lamb. 

Behind  him  three  servitors  are  busily  engaged. 

Through  the  arches  on  the  left  one  has  a glimpse  of  an  attractive 
landscape. 

Ffoulke  Collection,  1889. 


121 


SCENES  IN  THE  LIFE  OF  OUR  SAVIOUR 

i 

OUR  SAVIOUR  BEFORE  CAIAPHAS 
Height,  6 ft.,  6 in.  Width,  7 ft .,7  in. 

II 

OUR  SAVIOUR  BEFORE  PILATE 
Height,  6 ft.,  6 in.  Width,  7 ft.,  7 in. 

THESE  tapestries,  judging  from  the  style  of  borders  <^nd  car* 
touches,  were  woven  in  Flanders  early  in  the  XVII  century 
from  cartoons  painted  by  an  artist  of  an  earlier  era.  They  are  deeply 
interesting  on  account  of  the  sacred  story  they  relate. 

In  each  tapestry  there  are  eleven  figures,  all  skillfully  posed  and 
grouped,  and  wearing  costumes  of  much  richness  and  color.  The 
manner  in  which  the  lights  and  shadows  have  been  handled ; the 
deep  greens  with  golden  lights ; Gothic  reds  with  rose  lights ; and  the 
luminous  blues  used  in  the  costumes  produce  an  effect  that  reminds 
one  strongly  of  the  stainedsglass  windows  of  old  Munich. 

In  that  of  “Our  Saviour  Before  Caiaphas”  the  illustration  shows 
Christ  bareheaded  and  barefooted,  with  his  hands  hound  together 
by  a strong  cord,  clothed  in  a white  garment  and  standing  in  a noble 
and  dignified  attitude  before  the  high  priest.  Caiaphas,  seated  upon 
a throne,  wears  priestly  robes  and  has  a mitre  upon  his  head.  He  is 
attended  by  three  priests,  and  is  listening  attentively  to  the  words  of 
his  fatherfindaw,  Annas,  who  stands  at  his  left.  Officers  wearing 
helmets  guard  Christ  on  his  right  and  left.  One  of  them  holds  the 
end  of  the  cord  which  binds  Our  Lord,  and  has  his  left  hand  raised 
to  strike.  In  the  rear  are  four  soldiers  carrying  halberds. 

The  top  and  bottom  borders  resemble  mouldings,  and  in  the  cen* 
ter  of  each  is  a cartouche.  The  side  borders  represent  marble  cob 
umns  with  Corinthian  capitals. 

The  second  tapestry  represents  Christ  clothed  and  hound,  as  in 
the  first  one,  and  standing  before  Pilate,  officers  holding  him  on  the 
right  and  left,  and  four  soldiers  in  the  rear.  Pilate  stands  on  a dais 
at  the  left,  holding  in  his  hand  the  long  reed  he  was  urged  to  give 
Christ  in  mockery.  Three  priests  by  their  gestures  seem  to  cry, 
“Crucify  him.” 

The  colors  of  the  tapestries  are  repeated  in  the  cartouches  of  the 
borders,  which  are  alike  in  both  pieces. 

Ffoulke  Collection,  1903. 


122 


POMONA  AND  VERTUMNUS 


Height,  ii  ft.,  5 in.  Width,  18  ft.,  6 in. 

Mark  BTB 

THIS  highly  decorative  tapestry  was  woven  in  Flanders  during 
the  early  part  of  the  XVII  century.  It  represents  Vertumnus 
keeping  his  promise  to  Pomona  to  lead  a rural  life  upon  her  consent? 
ing  to  marry  him. 

In  the  left  foreground,  the  goddess  sits  in  deep  contemplation 
upon  a mound  rising  in  front  of  some  trees.  She  wears  a long  ivory? 
colored  robe,  and  a magnificent  mantle,  imitating  XV  century  hro? 
cade  of  changeable  colors  and  ornamented  with  precious  stones. 
She  carries  a sickle  in  her  right  hand  and  poses  her  left  on  a bouquet 
of  richly  colored  fruit  which  fills  the  cornucopia  at  her  side.  In  the 
central  foreground,  Vertumnus,  wearing  an  ivory?colored  tunic  and 
short  red  breeches,  carries  a basket  of  fruit  towards  her.  A peacock 
stands  behind  him,  while  a smaller  one  is  perched  on  a stump  he? 
hind  the  goddess. 

On  the  right  second  plane,  a man  is  loading  a basket  of  fruit  on  a 
camel  which  is  lying  down. 

In  the  background  rises  a superb  temple,  built  of  varicolored 
marble  and  decorated  with  bronze  plaques.  On  the  balcony,  which 
is  supported  by  alabaster  columns,  and  in  the  loggia  and  garden  are 
several  persons  engaged  in  different  occupations.  Beyond  can  be 
seen  the  interior  of  the  temple.  A flight  of  steps  leads  up  from  the 
stream,  which  runs  through  the  whole  plane,  to  the  garden,  which 
is  enclosed  on  either  side  by  arbors  of  grapevines  supported  on 
termini. 

In  the  color  scheme  yellow  has  been  so  largely  and  skillfully  used 
that  a warm  mellow  light  seems  to  pervade  the  entire  tapestry. 

The  borders  are  composed  of  many  kinds  of  fruits,  flowers  and 
leaves,  of  varying  colors,  which  combine  to  form  a general  effect  of 
extreme  richness. 

Ffoulke  Collection,  1904. 


127 


TWO  TAPESTRIES  REPRESENTING 
SCENES  IN  THE  LIFE  OF  ACHILLES 


Cartoons  by  P.  P.  Rubens. 

I 

THETIS  PRESENTING  ACHILLES  TO  THE 
HIGH  PRIEST 

Height,  13  ft.,  7 in.  Width,  15  ft.,  4 in. 

Mark  BUB  Signed  C.V.D.S. 

II 

ACHILLES  AND  AGAMEMNON 
Height,  13  ft.,  6 in.  Width,  13  ft.,  o in. 

Mark  BUB  Signed  I.  V.  LEEFDAEL 

THESE  tapestries  were  made  in  Flanders  early  in  the  second 
half  of  the  XVII  century,  and  are  signed  by  Van  den  Stricken 
and  Jean  Van  Leefdael.  They  were  woven  in  the  same  atelier  as 
the  “ Cleopatra  and  Mark  Antony”  series,  which  is  now  in  the 
Metropolitan  Museum  in  New  York.  They  are  enriched  with 
threads  of  gold  and  silver  and  are  excellent  specimens  of  decora? 
tive  art,  with  colossal  figures,  well  drawn,  and  full  of  vigor  and 
character. 

They  are  particularly  interesting  from  the  fact  that  they  were 
woven  from  cartoons  painted  by  Rubens  for  Charles  I of  England. 
At  the  time  of  Rubens’  death  his  inventory  mentioned  ten  car? 
toons  executed  for  the  Achilles  series.  However,  but  eight  could 
be  found,  and  this  number  only  was  mentioned  in  the  inventory  of 
his  father ?in?law,  who  died  three  years  later.  In  addition,  the  fact 
that  there  are  but  eight  subjects  among  the  two  sets  of  Achilles 
tapestries  now  to  be  found  in  Brussels  and  Lille  has  led  to  the  gen? 
eral  belief  in  Europe  that  two  of  the  cartoons  were  never  executed. 

“Thetis  Presenting  Achilles  to  the  High  Priest,”  evidently  the 
second  of  the  series,  is  unquestionably  from  one  of  the  two  cartoons 
which  has  been  missing  for  two  hundred  years.  The  illustration 
shows  Thetis  on  the  right,  with  one  hand  upon  the  head  of  her  son, 

128 


Achilles,  and  a golden  vase  in  the  other.  The  high  priest,  on  the  left,  is 
arrayed  in  rich  ceremonial  robes,  and  attended  by  two  acolytes,  each 
hearing  a flaming  lamp.  He  is  a very  imposing  figure  as  he  stands 
before  the  altar  upon  which  the  sacrificial  fire  is  burning. 

The  second  tapestry, 1 ‘Achilles  and  Agamemnon,  ” represents  the 
latter  seated,  and  gazing  savagely  at  Achilles,  who,  standing  on  the 
steps  leading  to  the  throne,  is  in  the  act  of  drawing  his  sword. 
Above  him  is  the  figure  of  Minerva,  arrived  in  haste  with  the  coim 
mand  of  the  gods  for  him  not  to  strike.  On  the  right,  beside  the 
throne,  stand  three  counselors  of  Agamemnon.  The  restraining 
hand  of  the  wise  Nestor  rests  upon  that  of  Agamemnon.  In  the 
central  foreground  a large  angry  lion  is  chained  to  the  plinth. 

In  the  two  partial  sets  now  existing  in  Europe  the  borders  are 
composed  of  fruits  and  flowers,  but  in  the  first  series  executed  for 
Charles  I,  of  which  these  tapestries  formed  a part,  they  are  quite 
different,  the  lateral  borders  having  pagan  deities  posed  as  caryatides, 
and  supporting  a cornice  decorated  with  festoons  of  fruits  and 
flowers  held  up  by  cherubs.  In  the  first  tapestry  the  caryatides 
represent  Minerva  and  Hercules,  the  deities  to  whom  the  child  was 
dedicated.  In  the  top  border  of  this  piece  is  a cartouche  enclosing  the 
following  inscription: 

ACHILLES  PVER 
A.  MATRE  ADDVCrtVR. 

AD  ORA  CVLVM. 

In  the  second  tapestry  is  a similarly  enclosed  inscription : 

ABSTINET  A 

FERRO  AEACIDES 
RETINENTE  MINERVA. 

Ffoulke  Collection. 

Now  in  the  possession  of  George  Robert  White,  Esq.,  and  by 
him  loaned  to  the  Boston  Museum  of  Fine  Arts. 


Fragments  From 

THE  SURRENDER  OF  A KING 

Height,  6 ft.,  9 in.  V/idth,  2 ft.,  7 in. 

THESE  four  panels  originally  formed  part  of  a superb  tapestry 
wbicb  was  woven  in  Flanders  about  1650.  It  was  taken  to 
Peru  by  a Spaniard,  wbo  on  bis  death?bed  presented  it  to  a cburcb. 
It  was  brought  to  the  United  States  by  the  Peruvian  Commissioners 
to  the  Chicago  Exposition  in  1893. 

Unfortunately  it  bad  been  so  neglected  that  some  parts  of  it  were 
beyond  repair.  The  uninjured  parts  have  been  preserved  in  four 
panels,  of  wbicb  the  illustration  gives  the  first  two. 

The  first  one  represents  an  athletic  looking  man,  crowned  and 
wearing  a full  beard.  He  carries  no  weapons,  but  wears  a red  cub 
rass  over  a blue  tunic  and  rich  red  mantle.  He  stands  upon  an  inlaid 
marble  floor  and  the  landscape  background  is  seen  just  above  bis 
right  shoulder.  His  face  shows  grief  and  bis  attitude  humiliation  as 
be  walks  towards  the  figure  in  the  fourth  panel,  an  aged  man  with 
a crown  and  long  beard,  wearing  a blue  cuirass  and  red  man  tie,  wbo 
stands  at  the  doorway  of  bis  tent  ready  to  receive  bis  vanquished  foe. 

The  second  panel  shows  two  pages  wbo  attend  the  dethroned 
king  and  stand  directly  behind  him.  The  one  in  the  foreground 
wears  a blue  robe  with  yellow  fringe  and  carries  the  helmet  of  bis 
master,  wbicb  is  decorated  with  short  red  feathers  and  one  long 
white  one.  His  companion  is  nearly  bidden  by  the  king’s  red  robe, 
bis  bead  and  feet  only  being  visible.  The  warrior  wbo  stands  be? 
bind  the  pages  wears  a helmet  and  blue  tunic  and  carries  a spear. 
The  landscape  is  part  of  that  seen  in  the  first  panel. 

In  the  third  panel  is  the  fulklength  figure  of  a man  without  a 
beard,  and  wearing  a green  turban  with  a yellow  band.  A green 
mantle  nearly  covers  him,  but  bis  short  sword  is  visible  on  the  left 
side.  Just  above  bis  right  shoulder  is  the  bearded  face  of  a warrior 
beneath  a helmet  with  nodding  plumes.  The  background  is  a yellow 
curtain  with  red  fringe,  the  same  as  seen  in  the  fourth  panel. 

The  colors  are  all  strong,  rich  and  warm,  the  figures  well?drawn, 
and  the  faces  full  of  character  and  expression. 

Peruvian  Commissioners  to  the  Chicago  Exposition. 

Ffoulke  Collection,  1893. 


U2 


THE  JUDITH  AND  HOLOFERNES  SERIES 

i 

KING  NEBUCHADNEZZAR  SENDS  HOLOFERNES, 
THE  CHIEF  CAPTAIN  OF  HIS  ARMY, 
AGAINST  ISRAEL 

Height,  13  ft.,  9 in.  V/idth,  12  ft.,  3 in. 

Mark  BUI  Signed  E.  Leyniers. 

II 

ACHIOR,  THE  LEADER  OF  THE  AMMONITES, 
WHILE  EXPOUNDING  THE  POWER  OF 
THE  GOD  OF  ISRAEL,  IS  ARRESTED 
BY  ORDER  OF  HOLOFERNES 

Height,  13  ft.,  3 in.  V/idth,  13  ft.,  9 in. 

Mark  BUB  Signed  H.  Rydams. 

III 

THE  WIDOW  JUDITH  WEIGHS  THE  VIRTUES  AND 
THE  SINS  OF  THE  PEOPLE;  WHEN  THE  LATTER 
ARE  HEAVIER,  ISRAEL  IS  PUNISHED 

Height,  13  ft.,  10  in.  \Vidth,  16  ft.,  3 in. 

Mark  BUB  Signed  H.  Rydams. 

IV 

THE  MOST  BEAUTIFUL  JUDITH  ARRAYS  HERSELF 
IN  GARMENTS  OF  GLADNESS,  IN  ORDER 
THAT  SHE  MAY  FREE  BETHULIA 
FROM  DESTRUCTION 

Height,  13  ft.,  4 in.  Width,  12  ft.,  1 in. 

Mark  BUB  Signed  E.  Leyniers. 


V 

JUDITH,  IN  THE  GUISE  OF  A FUGITIVE,  CUN, 
NINGLY  DECEIVES  HOLOFERNES,  AND 
PROMISES  HIM  A SPECIOUS 
VICTORY 

Height,  13  ft.,  9 in.  V/idth,  13  ft.,  3 in. 

Mark  B^7I  Signed  H.  Rydams. 

VI 

HOLOFERNES,  WHILE  DRUNKEN,  IS  DEPRIVED  OF 
HIS  HEAD  BY  JUDITH,  WHO  THUS 
SAVES  ISRAEL 

Height,  13  ft.,  6 in.  V/idth,  15  ft.,  2 in. 

Mark  B^71  Signed  E.  Leyniers. 

VII 

JUDITH,  VICTRESS,  DISPLAYS  THE  HEAD  OF 
HOLOFERNES  TO  THE  PEOPLE,  WHO 
PRAISE  THE  GOD  OF  ISRAEL 

Height,  13  ft.,  5 in.  Width,  17  ft.,  8 in. 

Mark  B^7B  Signed  H.  Rydams. 

VIII 

THE  GOD  OF  ISRAEL  ROUTS  THE  ARMY  OF 
HOLOFERNES,  AND  TREASURES  ARE 
GIVEN  TO  JUDITH 

Height,  13  ft.,  6 in.  V/idth,  19  ft.,  7 in. 

Mark  B^B  Signed  E.  Leyniers. 

The  titles  of  these  tapestries  are  translated  from  the  Latin  inscrip, 
tions  occupying  the  central  space  in  the  top  border  of  each  tapestry. 

They  were  woven  in  Brussels,  early  in  the  second  half  of  the 
XVII  century,  in  the  united  ateliers  of  two  of  the  most  celebrated 

136 


families  of  tapestry  weavers  that  Flanders  ever  produced.  In  tke 
inventory  of  Cardinal  Carlo  Barberini's  tapestries,  dated  Octoker, 
1695,  tkey  are  mentioned  as  “ Series  woven  in  silk  and  wool  repre- 
senting  tke  kistory  of  Juditk — eigkt  tapestries.” 

At  tke  request  of  tke  Belgian  Government  tkey  were  sent  to 
Belgium  in  May,  1910,  and  formed  part  of  tke  Exposition  of  Flemisk 
Art  of  tke  XVII  century,  keld  in  Brussels  during  tkat  summer. 

Tke  sukjects  are  full  of  sentiment,  and  tke  personages  strong  in 
ckaracter,  well-drawn,  and  magnificently  costumed.  Juditk  and 
Holofernes  are  personified  witk  a surprising  fideHty  to  tke  Apoc- 
rypkal  record  of  tkeir  ckaracters  and  acts. 

Tke  tapestries  are  remarkable  for  tke  artistic  treatment  of  tke 
subjects;  for  tke  karmony  of  coloring,  wkick  is  in  a wonderful  state 
of  preservation;  and  for  tkeir  fine  decorative  qualities.  Tkey  are 
splendid  specimens  of  Flemisk  art,  for  tkey  were  woven  at  a time 
wken  Flanders  stoutly  maintained  ker  struggle  for  leadership  witk 
France,  and  before  tke  wiser  laws  and  better  pay  of  tke  French 
monarcks  robbed  Flanders  of  ker  best  weavers  and  ended  ker  three 
centuries  of  proud  pre-eminence  as  tke  greatest  and  grandest  center 
of  tapestry  weaving  in  tke  world. 

Tke  titles  describe  tke  tapestries  so  clearly  and  concisely  tkat  it 
seems  unnecessary  to  enter  into  a detailed  account  of  each  subject. 
Tke  eigkt  pieces  very  vividly  portray  tke  principal  events  in  Judith’s 
tragic  and  triumphal  career,  and  in  gazing  at  them  one  almost  feels 
tke  presence  of  tke  living  woman  who  so  bravely  risked  more  than 
life  for  tke  welfare  of  ker  people. 

Illustrations  and  full  descriptions  are  given  of  tke  fourth  and 
eighth  tapeStries. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 


*37 


IV 


IVDITH  PVLCHERRIMA  INDVIT  SE  VESTIBVS 
IV C VNDITATIS  SVAE  VT  BETHVLIAM 
AB  EXCIDIO  LIBERET 

Height,  13  ft.,  4 in.  Width,  12  ft.,  1 in. 

Mark  Signed  E.  Leyniers 

THIS  tapestry  represents  Judith  being  arrayed  by  her  maids  in  a 
magnificent  toilet  of  white  satin.  She  stands  in  front  of  a table 
and  gazes  into  a mirror  which  re^ls  upon  it,  and  which  she  holds  in 
place  with  her  left  hand.  A kneeling  maid  fastens  a bracelet  upon 
her  right  wridt;  another  spreads  a rich  rose-colored  mantle  over 
her  shoulders;  a third  takes  a brown  robe  outofache^l;  and  Mar  ah, 
who  is  to  accompany  her  to  the  camp  of  the  Assyrian  general, 
carries  a salver  and  ewer.  On  the  floor  is  a brazier  containing  curb 
ing  tongs.  The  draped  curtain  of  the  background  throws  out  in  fine 
relief  the  vase  of  flowers,  the  mirror  and  the  black  jewel  case  with 
its  open  drawer  and  half  revealed  pearl  necklace.  The  table-cover 
is  laden  with  rich  Oriental  embroidery,  and  adds  much  to  the  warmth 
and  color  of  the  piece. 

The  border  is  an  integral  part  of  the  tapestry  and  an  important 
artistic  feature.  In  the  center  of  the  top  border  is  a cartouche  con- 
taining the  Latin  inscription.  The  upper  part  is  decorated  with  the 
head  of  a satyr  and  the  lower  part  with  dolphins.  To  the  right  and 
left  of  the  cartouche  are  landing  eagles  with  extended  wings,  and 
fruits  and  flowers.  In  the  center  of  the  bottom  border  is  a cartouche 
enclosing  a miniature  mythological  subjedt.  To  the  right  and  left 
are  winged  cherubs,  and  beyond  them  fruits  and  leaves.  In  the 
center  of  the  side  borders,  a cartouche  encloses  a blue  £tone,  above 
which  is  a shell,  and  beneath  which  are  dolphins’  heads.  Above  and 
below  are  bouquets  of  fruits  and  flowers.  In  the  four  corners  are 
cartouches  enclosing  the  mask  of  a satyr. 

Ffoulke  Collection,  1889. 


138 


\ 


VIII 

DEVS  ISRAELIS  EXERCITVM  HOLOFERNIS  FVNDIT, 
ET  MVNERA  IVDITH  DANTVR 

Height,  13  ft.,  6 in.  Width,  19  ft.,  7 in. 

Mark  Signed  E.  Leyniers 

THE  eighth  tapestry  represents  Judith  attended  hy  four  maids 
standing  upon  a platform  outside  the  walls  of  Bethulia  with 
Oz-ias,  Charmis,  Chahris  and  their  body-guard  on  her  left.  Marah 
stands  behind  her.  At  the  feet  of  Judith  are  piled  treasures  from  the 
camps  of  Holofernes.  Men  are  climbing  the  hill,  heavily  laden  with 
spoils  from  the  defeated  army,  and  in  the  background  the  Jewish 
army  is  seen  pursuing  the  panic-stricken  Assyrians. 

Judith  wears  a robe  of  white  satin  and  an  embroidered  mantle 
lined  with  delicate  rose ; Charmis  has  a turban  ornamented  with 
precious  stones  and  a green  mantle.  Ozias’s  robe  is  of  an  old-rose 
tint,  while  Achior  wears  a helmet  ornamented  with  ostrich  feath- 
ers and  is  enveloped  in  a dark  blue  cloak. 

The  borders  of  all  the  eight  tapestries  are  the  same. 

Ffoulke  Collection,  1889. 


!43 


PAULUS  EMILIUS 
Height,  9 ft.,  ii  in.  V^idth,  n ft.,  o in. 

Mark  BUB  Signed^ 

THIS  tapestry  was  originally  one  of  a series  of  four,  illustrating 
events  in  the  life  of  a Roman  general.  They  were  woven  in 
Flanders  during  the  third  quarter  of  the  XVII  century,  and  were 
impressive  specimens  of  the  productions  of  the  Flemish  looms  of  that 
period.  The  other  three  are  no  longer  in  existence,  and  this  one  has 
lost  its  top  and  bottom  borders.  It  hears  the  monogram  of the  weaver. 

Paulus  Emilius  stands  on  the  extreme  left  of  the  tapestry,  and 
carries  a palm  branch  in  his  raised  left  hand ; he  wears  a blue  Roman 
costume  and  a reddbrown  mantle,  which  is  clasped  upon  his  right 
shoulder,  and  falls  behind  him.  He  is  accompanied  by  five  women. 
The  one  by  his  side  carries  a wreath  in  her  left  hand,  and  with  the 
other,  leads  the  child,  who  walks  between  them.  Her  dress  is  a red 
tunic  over  a skirt  embroidered  with  fleurssdeslis.  Only  the  heads 
of  the  two  women  behind  the  general  are  visible.  Leading  the  pros 
cession  are  the  graceful  figures  of  two  young  girls ; the  one  wearing 
a blue  tunic,  holds  high  above  her  head  a wreath,  and,  with  her  left 
arm  around  her  companion,  seems  to  be  urging  her  forward.  In 
the  distance  is  a galley  riding  upon  the  waters,  and  on  the  shores  are 
crowds  of  people.  The  scene  evidently  celebrates  the  victorious  res 
turn  of  Paulus  Emilius  from  the  Macedonian  war. 

The  heroic  figures  are  skillfully  drawn,  and  the  wells  preserved 
colors  are  slightly  softened  by  the  hand  of  time. 

The  original  side  borders  of  the  tapestry  alone  remain.  In  the 
center  of  each  cartouche  is  a dove,  with  head  downward,  upon  a 
blue  ground;  above  and  below  are  fruits,  flowers  and  leaves  massed 
in  such  profusion  that  no  background  is  visible.  The  top  and  hots 
tom  borders  are  narrow,  and  of  an  egg  and  dart  pattern. 

The  coloring  of  the  side  borders  is  the  same  as  that  of  the  main 
composition. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 


144 


THE  LICTOR  PANEL 

Height,  8 ft.,  9 in.  Width,  3 ft.,  4 in. 

THE  subject  of  one  of  the  large  pieces  of  the  Paulus  Emilius  series, 
of  which  mention  is  made  in  a previous  description,  represented 
that  general  entreating  King  Perseus  to  rise. 

It  showed  the  Roman  hero  clad  in  a sumptuous  rohe  stepping 
forth  from  his  tent,  with  hoth  hands  outstretched  towards  Perseus, 
who  knelt  at  his  feet.  Lictors  and  armed  Roman  soldiers  stood 
around,  and  their  tents  were  seen  in  the  distance.  The  illustration 
shows  a fragment  of  this  tapestry  and  represents  a stately  Roman 
lictor  in  a rich  costume,  with  his  attendant  just  behind  him.  He 
wears  a superb  helmet  with  nodding  plumes,  and  his  strong  athletic 
figure  is  clothed  in  the  traditional  Roman  costume,  the  prevailing 
color  of  which  is  dull  yellow.  A mantle  of  greenish  blue  is  fastened 
with  a jeweled  clasp  on  his  right  shoulder  and  falls  behind  him  to  the 
ground.  His  right  hand  rests  upon  his  bundle  of  fascis.  In  the  tap* 
estry  he  stood  quietly  observant  and  vigilant,  by  the  side  of  his  gen* 
eral’s  tent,  ready  to  act  in  his  defence  if  necessary.  The  richly  em* 
hroidered  green  velvet  hangings  of  the  royal  tent  form  an  admirable 
background  for  his  imposing  figure. 

The  Paulus  Emilius  series,  as  previously  stated,  was  woven  in 
the  third  quarter  of  the  XVII  century. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 


J49 


THE  MELEAGER 
AND  ATALANTA  SERIES 

Cartoons  by  Charles  Le  Brun 
Mark  E'vy’B  Signed  G.V.  D.  Stricken 

I 

MELEAGER  PRESENTS  ATALANTA  WITH  THE 
HEAD  OF  THE  CALEDONIAN  BOAR 
Height,  ii  ft.,  4 in.  WHth,  io  ft.,  i in. 

II 

MELEAGER  ATTACKS  AND  KILLS  HIS  UNCLE 
Height,  ii  ft.,  4 in.  Width,  io  ft.,  7 in. 

III 

THE  MOTHER  OF  MELEAGER  THRUSTS  THE  FATAL 
BRAND  INTO  THE  FIRE 
Height,  11  ft.,  5 in.  Width,  7 ft.,  10  in. 

Among  the  tapestries  executed  at  the  Royal  Manufactory  of 
Gobelins  under  Charles  Le  Brun  between  the  years  1663  and  1690 
was  a series  of  eight  pieces,  woven  with  wool  and  gold  threads, 
for  the  Duke  of  Orleans.  Engravings  from  the  cartoons  of  these 
subjects  are  in  the  National  Library  at  Paris,  and  two  of  the  original 
paintings  executed  by  Le  Brun  are  in  the  Louvre. 

Standard  authorities  on  Flemish  tapestries  state  that  the  cartoons 
designed  by  Le  Brun  were  sent  into  Flanders  to  be  interpreted  in  a 
replica  series  for  the  Count  of  Artois,  a member  of  the  royal  family 
of  France. 

The  fineness  of  the  tissue,  the  wealth  of  gold  and  silver  threads 
used  in  the  three  tapestries  here  described,  the  fact  that  they  were 
woven  in  Brussels  under  Gerard  Van  den  Stricken  before  1677  hrom 
cartoons  that  in  subjects  and  borders  are  identical  with  the  engrave 
ings  made  from  Le  Brun’s  cartoons  now  in  the  National  Library  at 
Paris,  are  strong  proofs  that  they  originally  formed  part  of  the  series 
executed  for  the  Count  of  Artois. 


15° 


Tke  composition  of  eack  subject  is  strong,  lifelike,  and  full  of  ac* 
tion,  tke  personages  well  drawn  and  skillfully  grouped  and  tke  soft 
and  dekcate  colors  admirably  selected  and  karmoniously  blended. 
Tke  tapestries  are  of  tke  finest  quality  and  best  possible  workman^ 
skip  and  are  very  beautiful  interpretations  of  tke  celebrated  car? 
toons  from  wkick  tkey  were  woven  about  tke  middle  of  tke  XVII 
century. 

Tke  first  piece  represents  Meleager  partly  kneeling  upon  tke  body 
of  tke  Caledonian  boar  as  ke  offers  its  kead  to  Atalanta.  In  kis  left 
kand  ke  kolds  uprigkt  a skort  and  keavy  sword.  Atalanta  is  seated 
beneatk  a tree,  under  a drapery  suspended  from  its  branckes.  Ske 
extends  ker  rigkt  kand  towards  Meleager,  tke  otker  rests  upon 
ker  bow. 

Bekind  ker  stand  tkree  of  ker  maids,  and  at  ker  rigkt  a young 
kuntress  witk  a quiver  at  ker  back  skows  unmistakable  joy  at  tke 
konor  skown  to  ker  mistress.  Tkree  of  Atalanta’s  dogs  are  on 
ker  left. 

Tke  jealous  uncles  of  Meleager,  kaving  assailed  Atalanta  and 
robbed  ker  of  ker  tropky,  excited  tke  anger  of  tkeir  nepkew,  and 
tke  second  tapestry  skows  kim  fiercely  attacking  kis  relatives. 
Meleager  kas  overtaken  tkem  at  tke  edge  of  a forest,  and  success* 
fully  struggles  to  recover  tke  boar’s  kead  of  wkick  tkey  kad  deprived 
Atalanta.  One  of  kis  uncles  lies  mortally  wounded  upon  tke  ground. 
Tke  otker,  astride  kis  body,  vainly  endeavors  to  retain  possession  of 
tke  tropky  wkick  Meleager  kas  seized.  Atalanta  witk  korror* 
stricken  countenance  flies  from  tke  scene. 

An  illustration  is  given  witk  tke  description  of  tke  tkird  tapestry. 

Ffoulke  Collection,  1891. 

Now  in  tke  possession  of  Bayard  Tkayer,  Esq. 


Ill 

THE  MOTHER  OF  MELEAGER 
THRUSTS  THE  FATAL  BRAND  INTO  THE  FIRE 

Height,  ii  ft.,  5111.  Width,  7 ft.,  10 in. 

THE  Queen  Althea,  who  had  heen  promised  by  the  Fates  that 
her  son  Meleager  would  live  as  long  as  she  preserved  the  brand 
of  wood  which  she  had  snatched  from  the  fire  on  the  day  of  his  birth, 
was  infuriated  when  she  heard  that  her  brothers  had  heen  slain  by 
the  hand  of  her  son,  and  anxious  to  avenge  their  death,  she  took  the 
fateful  brand  from  its  hiding  place  and  prepared  to  destroy  it. 

A little  to  the  right  of  the  center  of  the  tapestry  stands  the  full 
length  figure  of  Althea.  She  raises  her  mantle  to  shield  her  eyes 
from  her  unnatural  act  as  she  places  the  brand  upon  the  fire,  which 
burns  upon  a sacrificial  altar  supported  by  three  legs  with  claw  feet, 
and  placed  in  front  of  a column  surmounted  by  the  bust  of  a scowling 
satyr.  The  avenging  goddess,  Tisiphone,  whose  head,  with  hair 
entwined  with  serpents,  appears  amid  the  smoke,  has  seized  the 
wrist  of  the  Queen  in  order  to  prevent  her  from  withdrawing  the 
brand  from  the  flames. 

The  glorious  borders  which  surround  this  piece  and  the  other 
subjects  of  the  series  are  chefs  d’oeuvre  of  the  immortal  period  of 
Le  Brun. 

Flowers,  fruits  and  leaves,  swords,  spears,  hows,  quivers  of  ar- 
rows,  horns,  helmets,  plumes,  five  and  dead  game,  dogs,  birds,  urns 
and  brands,  are  represented  in  a composite  border  of  remarkable  ar- 
tistic  purity  and  beauty.  The  trophies  of  the  chase  are  mingled  with 
the  emblems  of  both  happiness  and  despair. 

In  the  right-hand  bottom  corner  is  a cartouche  with  the  head  of 
Medusa,  in  the  opposite  corner  the  cartouche  contains  a firebrand 
and  chain  lightning.  In  the  center  of  the  top  border  is  a vase  and  in 
the  center  of  the  bottom  border,  a dog.  The  first  and  second  tapes- 
tries are  larger,  and  in  the  center  of  their  top  borders  is  a quiver  of 
arrows  surmounted  by  cooing  doves  and  flanked  by  hooded  falcons. 
The  center  of  the  bottom  borders  is  occupied  by  a large  hoar’s  head. 
Now  in  the  possession  of  Bayard  Thayer,  Esq. 


152 


THE  GODDESS  FLORA  AND  HER  MAIDS 


Height,  ii  ft.,  8 in.  Width,  16  ft.,  5 in. 

THIS  tapestry  was  originally  one  of  a set  of  four  that  were 
woven  in  Flanders,  near  the  close  of  the  XVII  century.  A 
sylvan  landscape  forms  the  setting  for  this  mythological  scene.  On 
the  right,  against  a background  of  dense  foliage,  the  goddess  Flora  is 
seated  by  the  side  of  a fountain.  She  is  a graceful,  stately  woman, 
clad  in  a robe  of  light  yellow,  shading  into  brown,  and  sprinkled 
with  stars.  Her  arms  and  neck  are  bare  save  for  the  jewels  she 
wears.  Her  fair  hair  is  loosely  caught  hack  on  the  left  side  by  a 
hunch  of  flowers  and  leaves.  At  her  feet  two  of  her  maidens  are 
engaged  in  arranging  flowers.  One  wears  a gokbembroidered 
Venetian  dress  and  blue  mantle;  the  other  a blue  skirt  and  white 
bodice.  In  the  middle  plane.  Zephyr,  a youth  with  effeminate  fea? 
tures,  leans  against  a fine  old  oak.  He  is  crowned  with  flowers 
and  wears  a dark  orange?brown  mantle.  At  his  left  are  seated 
two  maidens.  Flora  seems  to  he  gazing  at  Zephyr  with  such  deep 
thoughtfulness  that  she  does  not  heed  the  cry  of  the  maiden,  who, 
having  been  bitten  by  a snake,  is  running  towards  her  with  her 
arms  extended  in  fright  and  her  beautiful  features  expressing  the 
utmost  alarm.  The  folds  of  the  dark  blue  robe  and  breeze^blown 
mantle  of  this  graceful  figure  are  most  artistically  rendered. 

The  maiden  at  the  extreme  left,  who  has  dropped  her  flowers  and 
raised  her  robe  to  avoid  the  viper,  is  also  extremely  well  drawn. 
The  tapestry  is  full  of  sentiment  and  feeling,  and  the  attitudes  of  the 
figures  accentuate  the  character  of  the  emotions  written  on  their 
features. 

In  the  floral  border  is  repeated,  with  consummate  skill,  every 
tone  and  shade  of  the  landscape  background,  flowers  and  costumes 
of  the  tapestry.  There  are  rich  red  poppies,  various  colored  roses, 
white  lilies  and  other  flowers,  also  apples  and  grapes  bound  together 
with  blue  ribbons,  and  here  and  there,  small  eagles  and  bright  parrots. 
Ffoulke  Collection,  1904. 

Now  in  the  possession  of  Cornelius  K.  G.  Billings,  Esq. 


THE  GODDESS  DIANA  WOLF  HUNTING 
Height,  7 ft.,  8 in.  Width,  9 ft.,  5 in. 

THIS  interesting  tapestry  which  has  no  border  was  woven  in 
Flanders  during  the  last  quarter  of  the  XVII  century.  The 
goddess  wears  a magnificent  red  robe  looped  above  the  right  knee 
by  a clasp  of  precious  stones.  She  is  wonderfully  well  drawn  and 
her  pose,  which  is  that  of  an  archer  who  has  just  let  fly  the  arrow 
from  the  bow,  is  most  truthfully  and  gracefully  rendered.  In  front 
of  her  the  hounds  seem  to  be  actually  running  and  leaping.  One 
wolf  has  been  thrown  down  by  the  nearest  hound,  who  is  on  the 
point  of  fixing  his  teeth  in  its  neck.  The  other  still  runs  with  his 
head  in  air,  but  the  moment  of  his  capture  is  near. 

The  dense  green  foliage  forms  an  admirable  background  for  the 
figure  of  the  goddess,  bringing  out  in  clear  relief  her  rich  red  robe, 
and  also  the  blue  and  yellow  feathers  of  the  arrows  which  one  sees 
in  their  quiver  just  above  her  left  hand. 

Ffoulke  Collection,  1904. 

Now  in  the  possession  of  Gutzen  Borglum,  Esq. 


158 


WARRIOR  KNEELING  AT  THE  ENTRANCE 

OF  A TEMPLE 

Height,  7 ft.,  6 in.  Width,  4 ft.,  8 in. 

THIS  highly  decorative  tapestry  was  woven  in  Flanders  during 
the  last  half  of  the  XVII  century. 

It  represents  the  figure  of  a warrior  with  uncovered  head,  kneel* 
ing  in  an  attitude  of  devotion.  He  wears  a Roman  costume,  and 
over  it  a gracefully  draped,  rich  red  mantle.  His  plumed  helmet  is 
held  by  a youthful  attendant  in  a blue  surcoat,  who  stands  behind 
him. 

The  male  and  female  termini,  which  constitute  the  side  borders, 
support  an  entablature  from  which  swings  a festoon  of  richly  cob 
ored  flowers  of  several  varieties. 

By  the  aid  of  the  light  blue  background  the  artist  weavers  have 
clearly  and  beautifully  illustrated  the  entrance  to  a temple,  for  the 
festoon  appears  to  swing  in  mid-air;  the  termini  and  the  entablature 
to  stand  out  from  the  landscape,  and  the  kneeling  warrior  and  stand* 
ing  attendant  to  gaze  at  some  figure  or  shrine  within. 

This  tapestry  was  probably  part  of  a series  and  apparently  made 
to  fit  a certain  space,  as  it  is  not  a fragment,  but  complete  with  origi* 
nal  border. 

Ffoulke  Collection,  1893. 


163 


VERTUMNUS  DISGUISED  AS  AN  OLD  WOMAN 
MAKING  LOVE  TO  POMONA 

Height,  ii  ft.,  3 in.  Width,  7 ft.,  1 in. 

THIS  tapestry  was  woven  in  Flanders  near  the  close  of  the  XVII 
century.  Pomona,  a rural  nymph,  noted  for  her  beauty  and 
ability  in  cultivating  the  fruits  of  trees  and  vines,  is  surprised  in  the 
act  of  gathering  a hunch  of  grapes,  by  Vertumnus,  who,  in  the  guise 
of  an  ancient  crone,  pleads  his  love.  Pomona  wears  pearls  in  her 
hair,  golden  chains  upon  her  arms,  and  a flowing  yellow*striped 
robe  of  green,  which  deepens  in  the  shadows  to  a violet^brown.  She 
has  turned  her  head,  not  unwillingly,  towards  Vertumnus,  whose 
attitude,  gesture  and  expression  show  that  he  is  addressing  her  with 
all  the  eloquence  at  his  command.  A light  grey  hood  with  designs  in 
blue  covers  his  head  and  shoulders,  and  an  orange^brown  mantle 
falls  over  a robe  of  deep  violet.  In  his  right  hand  he  carries  a staff. 

The  border  of  this  tapestry  is  full  of  detail  and  rich  in  color. 
V/ith  great  harmony  the  color  scheme  of  the  tapestry  is  repeated 
in  the  various  leaves,  fruits,  flowers  and  gaily  feathered  parrots,  all 
intertwined  and  bound  together  by  knots  of  blue  ribbon. 

Ffoulke  Collection,  1904. 

Now  in  the  possession  of  Arthur  Curtiss  James,  Esq. 


164 


THE  GODDESS  ABUNDANCE 

Height,  9 ft.,  5 in.  Width,  6 ft.,  i in. 

THIS  handsome  panel  was  woven  in  Flanders  near  the  end  of  the 
XVII  century.  In  the  far  background  rises  a lofty  mountain, 
and  on  the  top  of  a cliff  to  the  left  is  an  arbor  supported  by  termini 
and  covered  with  grapevines.  Beneath  this  arbor  is  a table  laden 
with  fruit,  around  which  several  persons  are  gathered.  The  woman 
carrying  above  her  head  a plate  of  fruit  is  an  accessory  symbol  of 
the  main  composition,  as  is  also  the  group  in  the  middle  plane,  which 
consists  of  a man  with  a cornucopia,  riding  on  the  shoulders  of  a 
horned  satyr,  accompanied  by  a woman  with  a welbfilled  sack  in 
her  arms  and  a man  who  labors  under  the  weight  of  a large  amphora. 
On  the  extreme  right  a covered  bridge  with  arches  spans  the  stream 
which  runs  between  the  cliff  and  the  mountain. 

In  the  foreground  are  two  stately,  well  drawn  and  richly  cos= 
turned  women  representing  the  goddess  Abundance  and  her  corns 
panion.  The  former  is  crowned  with  a hand  of  wheatdieads  fastened 
to  her  hair  by  a diadem  of  precious  stones.  She  wears  over  her  light 
blue  robe  a magnificent  brocade  mantle,  the  border  of  which  is 
edged  with  pearls  and  decorated  with  jewels. 

The  goddess,  with  left  hand  outstretched,  leans  slightly  towards 
her  companion,  who  gazes  at  her  with  an  air  of  reverence,  and 
gently  touches  her  mantle.  The  maiden  wears  a long,  light  yellow 
tunic  over  a damask  brocade  skirt,  and  a dark  blue  mantle,  with 
bands  of  reddish  hue,  which  floats  from  her  right  shoulder. 

The  sentiment  and  feeling  expressed  in  the  general  treatment, 
and  the  landscape  and  accessory  symbolic  scenes,  unite  with  the 
stateliness  and  richness  of  the  main  composition  to  form  an  exs 
tremely  interesting  and  decorative  tapestry. 

Ffoulke  Collection,  1904. 

Now  in  the  possession  of  Cornelius  K.  G.  Billings,  Esq. 


169 


CLEOPATRA  AND  MARK  ANTONY 


Height,  7 ft.,  ii  in.  Width,  13  ft.,  2 in. 

THIS  tapestry,  woven  in  Flanders  during  the  last  halfof  the XVII 
century,  has  noborder.  It  contains  eleven  small  personages  and 
three  animals.  The  scene  is  laid  near  the  sea  at  the  palace  of  the  queen 
of  Egypt.  In  the  background  a large  ship  rides  at  anchor  and  a couple 
of  vessels  approach  the  coast.  In  the  left  foreground  are  some  trees, 
a hog,  a dog  and  a lion.  In  the  right  foreground  are  two  maids  of 
honor  in  robes  of  blue  and  red;  one  holds  a pitcher  and  salver,  and 
near  her  stands  a richly  wrought  amphora. 

Cleopatra,  in  regal  robes,  sits  upon  a richly  ornamented  throne, 
under  a red  canopy,  at  the  entrance  of  her  palace. 

Leaning  forward,  she  extends  over  the  head  of  Mark  Antony, 
who  stands  below  her,  the  sceptre  or  wand  of  protection,  while  with 
inclined  head  he  drinks  from  the  goblet  of  wine  offered  him  by  three 
maids  of  honor  standing  at  the  foot  of  the  dais.  A woman  in  the  rear, 
with  left  arm  raised  toward  her  queen  and  head  turned  in  the 
direction  of  the  two  officers  who  have  accompanied  Mark  Antony, 
calls  their  attention  to  the  clemency  of  Cleopatra.  These  officers, 
and  also  their  leader,  wear  their  helmets  and  armor,  and  all  three 
have  thrown  around  them  bright  mantles  of  blue  or  red,  which  are 
most  gracefully  draped. 

The  sumptuous  palace  with  its  balustrades  and  fluted  columns  is 
a fine  piece  of  architectural  design.  All  personages  are  well  drawn, 
gracefully  posed  and  admirably  grouped.  Wliile  the  flesh  tints  have 
unfortunately  faded,  the  rich  colors  in  the  classical  costumes  and 
throne  draperies  are  well  preserved,  and  give  the  tapestry  a brib 
liantly  decorative  effect. 

Ffoulke  Collection. 


TRIUMPH  OF  BACCHUS 

Height,  6 ft.,  5 in.  Width,  15  ft.,  7 in. 

THAT  this  tapestry  was  woven  in  Flanders,  about  the  close  of 
the  XVII  century,  is  evident  from  the  excellence  of  the  draw? 
ing,  character  of  the  foliage,  tone  of  the  reds,  and  above  all  from  the 
hatching  of  the  colors  or  manner  of  blending  one  shade  into  another. 

Against  a background,  composed  of  a fine  old  chateau  standing 
in  a park,  the  trees  and  foliage  of  the  foreground  as  well  as  the  col? 
umns  of  a palace  on  the  extreme  right  stand  out  in  strong  relief. 
There  are  ten  small  figures  in  the  tapestry.  The  important  figure  is 
that  of  young  Bacchus.  He  is  crowned  with  grape  leaves  and  holds 
a goblet  of  wine  in  his  right  hand.  He  is  aided  in  keeping  his  seat 
upon  the  goat  he  is  riding  by  two  chubby  children.  In  the  rear 
walks  a little  fellow  carrying  a flaming  standard.  In  front  of  the 
goat  a dancing  hoy  plays  upon  cymbals.  The  leader  of  the  proces? 
sion  is  a hoy,  who  has  tumbled  to  the  ground  with  two  bronze 
pitchers,  and  who  is  followed  by  two  dancing  satyrs  with  tambour? 
ine  and  flute.  A child  in  a red  tunic  has  climbed  the  tree  on  the  left 
to  a point  where  he  commands  a good  view  of  the  scene,  and  a 
young  satyr  is  rapidly  following  him.  In  the  right  foreground  is  a 
fountain,  surmounted  by  the  figure  of  Mercury,  standing  upon  a 
winged  hall. 

The  grace,  life  and  joyous  movements  of  the  little  people  are  ex? 
tremely  attractive  and  the  combination  of  the  many  tones  of  green, 
brightened  here  and  there  with  touches  of  red,  makes  this  tapestry 
a very  restful  one  to  the  eyes. 

The  tapestry  is  surrounded  by  a narrow  hand?like  border. 
Ffoulke  Collection,  1892. 


VINTAGE  SCENE 

Height,  8 ft.,  8 in.  V/idth,  14  ft.,  10  in. 

THIS  tapestry  is  very  similar  in  color  and  design  to  that  entitled, 
“Triumph  of  Bacchus,”  and  like  it  was  woven  in  Flanders  near 
the  end  of  the  XVII  century. 

In  the  left  foreground  a stalk  of  sunflowers  grows  before  a large 
urn  placed  on  a pedestal,  and  three  hoys  trample  grapes  in  a huge  vats 
like  cask  from  which  wine  flows  into  a large  bronze  bowl.  A fourth 
hoy  drinks  from  a flask,  a fifth  dips  some  wine  out  from  the  howl, 
while  a sixth  is  about  to  lift  a large  bunch  of  grapes.  In  the  middle 
foreground,  a little  girl  and  a young  satyr  carry  vines,  laden  with 
grapes,  toward  the  cask.  In  the  right  foreground  a boy  sits  in  the 
crotch  of  a tree,  plucking  grapes ; another,  who  stands  on  the  ground 
does  likewise,  and  a third  loads  them  into  baskets  on  the  back  of  a 
goat.  In  the  background  is  an  old  chateau,  and  on  the  right-hand 
side  of  a pathway  leading  into  the  distance,  are  several  fountains, 
pools  and  waterfalls. 

The  background  of  deepstoned  foliage  throws  out  in  fine  relief 
the  small  figures,  and  the  varying  colors  of  their  scanty  costumes 
give  a piquant  attraction  to  the  highly  interesting  and  picturesque 
scene.  The  life  and  movement  in  the  whole  composition  are  very 
apparent,  as  are  also  the  excellent  perspective  qualities,  the  naturals 
ness  of  the  foliage,  the  beauty  of  the  drawing,  posing  and  grouping, 
and  the  deep  interest  manifested  by  the  actors  in  their  various  parts. 

The  border,  which  harmonizes  in  color  with  the  main  composis 
tion,  is  composed  of  twisted  leaves  interspersed  with  flowers. 
Ffoulke  Collection,  1892. 

Now  in  the  possession  of  David  Warfield,  Esq. 


176 


KING  SOLOMON  RECEIVING  THE  QUEEN  OF  SHEBA 
Height,  9 ft.,  9 in.  Width,  7 ft.,  8 in. 

THIS  tapestry  was  woven  in  Germany  about  A.  D.  1660.  King 
Solomon  is  represented  as  a fulbbearded  man  carrying  a seeps 
tre  and  seated  upon  a throne  chair  under  a portico  which  opens  upon 
a garden.  He  wears  a turban  surmounted  by  a crown  and  a gold 
chain,  with  pendant  Maltese  cross,  suspended  from  his  neck.  He 
also  wears  a loose  blue  coat  over  a yellow  robe,  embroidered  around 
the  bottom  in  blue.  Behind  him  stands  an  officer  of  his  guard,  Queen 
Sheba  kneels  before  him  and  holds  out  to  him  a vessel  of  gold.  She 
wears  a crown,  a veil,  and  a yellow  costume  with  blue  sleeves  which 
are  ornamented  with  precious  stones.  She  is  attended  by  two  maids 
ofhonor  , one  of  whom  carries  a parrot  and  the  other  a vessel  of  gold. 

In  the  bottom  border  is  a repetition  of  the  same  subject.  King 
Solomon  here  receives  the  Queen  in  a garden.  He  wears  a crown, 
carries  a sceptre,  and  is  attended  by  five  men.  The  Queen  kneels  be* 
fore  him,  and  presents  a rich  vessel.  She  is  attended  by  four  maids 
of  honor,  one  of  whom  stands  by  a large  sack  filled  with  gold  pieces. 
In  the  center  of  the  top  border  is  a figure  playing  upon  a harp,  on  the 
right  and  left  of  which  are  kneeling  children  with  outstretched  hands. 
A knight  with  lance  and  shield  occupies  each  upper  corner,  and  a 
small  figure  of  the  King  the  center  of  each  lateral  border ; all  inters 
vening  spaces  are  filled  with  designs  of  fruits,  flowers  and  leaves. 

This  tapestry  is  interesting  on  account  of  its  primitive  character 
and  German  origin.  The  quaint  figures,  the  fanciful  accessories, 
placed  as  the  versatile  ideas  of  the  artist  dictated,  and  the  peculiar 
character  of  the  borders  unite  in  forming  a most  entertaining  corns 
position. 

Dinghy  Castle,  England. 

Ffoulke  Collection,  1904. 


181 


FRENCH  TAPESTRIES 


THE  ARTEMISIA  SERIES 


Cartoons  by  Henry  Lerambert 


I 

ARTEMISIA  AND  HER  SON  KNEELING  AT  THE 
SACRIFICIAL  ALTAR 

Height,  13  ft.,  4 in.  Width,  15  ft.,  9 in. 

Mark  P ^ Signed  and  W 

II 

DIGNITARIES  OF  ARTEMISIA’S  HOUSEHOLD 
CARRYING  PRESENTS 

Height,  13  ft.,  4 in.  Wridth,  13  ft.,  10  in. 

Mark  ^ P Signed  jlj  and  W 

III 

THE  READING  OF  PETITIONS  BEFORE  THE 
STATUE  OF  JUSTICE 

Height,  13  ft.,  4 in.  Width,  19  ft.,  10  in. 

Mark  P ^ Signed  and  W 

IV 

ARTEMISIA  DISTRIBUTING  REWARDS  TO 

SOLDIERS 

Height,  13  ft.,  4 in.  Wddth,  19  ft.,  10  in. 

Mark  ^ Signed  ^ and 


V 


ARTEMISIA  SUPERINTENDING  THE  RIDING 
LESSON  OF  HER  SON 


Height,  13  ft.,  4 in.  W^idth,  19  ft.,  8 in. 
Signed  ^ 


i85 


VI 

THE  MIMIC  WAR 
Height,  13  ft.,  5 in.  Width,  20  ft.,  2 in. 

Mark  P *4“  Signed  and  fij 

VII 

THE  YOUNG  PRINCE  STUDYING  MATHEMATICS 

AND  GEOGRAPHY 

Height,  13  ft.,  6 in.  Width,  21  ft.,  7 in. 

Mark  P Signed  (Ij  and  W 

VIII 

THE  ASSEMBLING  OF  THE  ARTISTS  BEFORE 

ARTEMISIA 

Height,  13  ft.,  5 in.  V/idth,  10  ft.,  3 in. 

Mark  P *4*  Signed  [stj  and  W 

IX 

ARTEMISIA  REWARDING  THE  ARTISTS  WHO 
ASSISTED  IN  DESIGNING  AND  ERECTING 
THE  MONUMENT  TO  MAUSOLUS 

Height,  15  ft.,  4 in.  Width,  12  ft.,  7 in. 

Mark  P *4  Signed  fij 

X 

THE  COLOSSUS  OF  RHODES 
Height,  15  ft.,  6 in.  Width,  22  ft.,  2 in. 

Mark  P *4*  Signed  {|j 

This  series  of  the  Artemisia  tapestries  which  is  of  great  historical 
interest,  was  presented  by  LouisXIII  to  Cardinal  Francois  Barberini, 
Papal  Legate  to  France  in  1625,  as  is  shown  by  records  in  the  Bar? 
berini  library.  The  initials  F.  B.  are  stamped  on  the  linings  of  some 

186 


of  the  pieces,  and  the  initials  of  a member  of  tbe  Colonna  family  on 
tbe  lining  of  one,  indicating  that  it  was  included  in  tbe  dot  of  Donna 
Cornelia  Barberini  wbo  married  Don  Julius  Colonna.  All  ten  were 
woven  in  tbe  royal  ateliers  of  Paris,  organized  by  Henry  IV,  under 
tbe  supervision  of  Francis  de  la  Plancbe  and  Marc  de  Comans,  as 
shown  by  tbe  P and  fieur*de*Hs  in  tbe  bottom  galon  and  tbe  monos 
gram  ^ probably  composed  of  tbe  initials  of  tbe  joint  Christian 
names  of  tbe  artist  weavers.  Some  of  tbe  tapestries  bear  also  tbe 
monograms  of  those  wbo  assisted  in  weaving  them.  Tbe  Constant 
tine  series  in  tbe  Garde*Meuble  of  Paris  bears  tbe  same  mark. 

Ordered  by  a ruler  of  France,  and  woven  in  a royal  atelier  accord* 
ing  to  tbe  methods  of  tbe  best  epoch,  tbe  series  Artemisia  constitutes 
a work  of  art  of  tbe  first  order.  Mr.  Gerspach  states  that  while  be 
was  Director*General  at  tbe  GobeHns  be  was  in  tbe  habit  of  taking 
tbe  artists  charged  with  tbe  design  and  execution  of  a proposed  tapes* 
try,  also  tbe  master  weaver  and  journeymen,  before  a piece  of  tbe 
Artemisia  exhibited  in  tbe  museum,  and  then  saying,  “This  is  an 
example  of  a perfect  type  of  superb  and  decorative  tapestries.”  He 
also  adds  “that  tbe  sobriety  in  tbe  colors  has  a primordial  quality 
which  gives  to  tbe  work  an  aspect  of  force  and  sincerity.”  Tbe 
weaving  has  been  done  with  free  colors,  that  is,  without  using  two 
threads  of  different  colors  to  give  tbe  effect  of  a third,  and  to  this  fact 
must  be  attributed  tbe  remarkable  preservation  of  tbe  colors. 

Tbe  suggestion  of  tbe  series  Artemisia  originated  with  Sieur 
Nicolas  Houel.  In  tbe  National  Library  in  Paris  is  a book  by 
Houel  in  which  be  records  bis  reasons  for  composing  certain  son* 
nets  to  Catherine  de  Medicis  and  urges  that  her  history  should  be 
immortalized  in  textile  painting.  In  bis  address  to  tbe  Queen  be 
says,  “The  chief  end  of  my  work  has  been  to  represent  you  as  Arte* 
misia,  and  to  show  tbe  resemblance  between  her  era  and  ours.”  He 
compared  Henry  II  with  Mausolus,  Catherine  with  Artemisia, 
Charles  IX  with  Lygdamis,  and  tbe  victories  over  tbe  French  rebels 
with  tbe  war  against  tbe  Rhodians.  Antoine  Caron,  assisted  by  tbe 
best  artists  in  France,  painted  tbe  earKest  cartoons  for  tbe  Arte* 
misia  series.  They  consisted  of  thirty  mine  models  exemplifying  tbe 
grief  of  Catherine  at  tbe  death  of  Henry  II,  and  illustrating  subse* 
quent  events  in  her  career.  All  tbe  subjects  have  been  engraved, 
but  not  half  of  them  were  translated  into  tapestries. 

187 


Marie  de  Medicis,  like  her  relative  who  preceded  her  upon  the 
throne  of  France,  was  passionately  fond  of  the  sumptuous  arts,  and 
followed  Catherine  de  Medicis’  example  in  vigorously  supporting 
the  royal  ateliers  of  tapestry  weaving,  and  like  Catherine,  also 
left  behind  her  a monument  of  her  grief  at  the  loss  of  her  illustrious 
consort  and  of  her  devotion  to  her  children,  in  other  series  of  Arte* 
misia  tapestries.  The  same  subjects,  somewhat  modified  in  the 
cartoons  by  Leramhert,  were  used,  hut  they  were  surrounded  by 
entirely  different  borders.  During  the  reign  of  five  succeeding  so  vers 
eigns  of  France,  the  series  Artemisia  received  the  unusual  honor  of 
being  repeatedly  chosen  for  reproduction  in  the  royal  ateliers,  and 
between  the  years  1570  and  1660  ten  series  were  woven,  illustrating 
queens  of  France  as  Artemisia. 

Of  the  eightysfour  Artemisia  tapestries  owned  by  the  French 
Government  in  1715  only  twentyseight  exist  today.  Twenty  sthree 
were  destroyed  during  the  Reign  of  Terror,  and  as  there  is  no  trace 
of  the  other  thirtysthree,  it  is  probable  that  they  were  among  the  six 
hundred  and  thirtysseven  tapestries  burned  by  the  Commune  in  1871 . 

The  twentyseight  pieces  in  the  GardesMeuble  are  unfortunately 
parts  of  six  different  sets,  therefore  the  larger  of  the  two  series  here 
described  is  the  most  complete  and  important  now  in  existence. 

In  the  first  tapestry  a high  priest  sacrifices  a hull  upon  an  altar, 
which  is  placed  upon  the  threshold  of  a temple.  Near  him  stands  an 
assistant,  and  before  the  altar  kneel  the  Queen  and  Charles  IX, 
their  hands  clasped  in  prayer.  Behind  them  are  a number  of  cour* 
tiers,  and  on  their  left  stand  a few  servitors  or  spectators.  Six  little 
choristers,  in  groups  of  three,  chant  the  service  from  the  hooks  held 
in  their  hands.  There  is  a priest  in  the  right  foreground  and  in  the 
background  a butcher  leads  a hull  to  slaughter.  Artemisia  wears  an 
embroidered  robe  and  long  veil  and  her  son  a rich  costume. 

In  the  next  piece  six  dignitaries  of  the  court  are  represented  bears 
ing  away  the  gifts  they  have  received  from  Artemisia.  Two  carry 
upon  a stretcher,  covered  by  an  embroidered  cloth,  several  handsome 
pieces,  another,  who  holds  aloft  a rich  vase,  is  in  deep  shadow,  while 
the  one  on  his  right,  carrying  on  his  shoulder  a ewer,  stands  out  in 
strong  relief,  and  is  the  prominent  feature  in  the  composition.  Behind 
him  stand  two  other  figures.  Water,  a fortified  castle,  and  a bridge 
occupy  the  background. 


188 


The  third  tapestry  pictures  a concourse  of  people  assembled  in 
front  of  a statue  of  Justice  to  listen  to  the  reading  of  a petition  hy  the 
herald  on  horseback.  Behind  him  are  four  trumpeters  likewise  on 
horseback.  The  banner  on  the  nearest  trumpet  hears  the  cipher  of 
Louis  XIII  surmounted  by  a crown.  At  the  base  of  the  statue  stand 
the  Dauphin  and  his  tutor.  The  edifice  in  the  background  probably 
represents  the  tomb  of  Mausolus. 

In  the  fourth  piece  Artemisia  appears,  seated  upon  a dais  in  the 
open  air,  distributing  presents  to  some  of  the  officers  of  her  army. 
She  wears  the  head-piece  and  body  armor  of  Minerva  with  a long 
veil  falling  from  the  helmet.  With  her  right  hand  she  takes  a trinket 
from  the  large  platter,  held  by  a servitor  kneeling  behind  her,  and 
with  her  left  bestows  a gift  upon  the  officer  standing  in  front  of  her. 
Behind  him  are  a group  of  officers  dressed  and  armed  as  Romans.  In 
the  foreground  are  a quantity  of  costly  vessels,  and  on  the  extreme 
left  stand  the  guards  of  the  Queen.  In  the  middle  plane  is  the  palace, 
in  front  of which  are  two  camels  and  a number  of  mounted  cavaliers. 
In  the  background  is  a view  of  the  city. 

Artemisia  is  represented  in  the  fifth  tapestry  as  deeply  interested 
in  the  riding  lesson  given  to  the  Prince.  She  wears  a crown  and 
carries  the  baton  of  sovereignty.  Her  veil  fastened  to  her  crown 
trails  to  the  ground  behind  her.  The  Prince,  also  crowned,  wears 
a superb  costume,  and  rides  a richly  caparisoned  pony  whose  head 
is  decorated  with  gayly  colored  feathers.  The  grand  equerry  is  near 
him,  also  mounted  upon  a steed  with  nodding  plumes  fastened  to  his 
headgear.  In  the  right  foreground  is  a colossal  statue  of  Hercules. 
Four  men-at-arms  guard  the  Queen  and  near  her  are  a few  courtiers. 
On  the  ground  below  the  esplanade  stand  a troop  of  cavalry.  The 
whole  center  background  is  filled  by  a huge  amphitheatre  drawn 
to  face  the  palace;  on  the  seats  are  spectators  watching  knights 
tilting  in  the  arena. 

An  illustration  and  full  description  are  given  of  the  sixth  tapestry. 

The  seventh  represents  the  Prince  and  two  companions  seated  at 
a table.  Two  instructors  stand  near  him,  and  an  assistant  leans  on 
a corner  of  the  table  and  points  with  his  pen  at  the  part  of  the  book 
from  which  the  lesson  is  drawn.  A group  of  three  persons  occupies 
the  right  foreground,  and  a large  dog  lies  at  full  length  upon  the  mar- 
ble floor  behind  them.  Several  persons  occupy  the  loggia.  The 

189 


architectural  background  is  well  executed,  and  charming  vistas  are 
seen  through  the  somher  openings  of  the  palace  windows. 

In  the  eighth  tapestry  three  savants  are  conferring  in  front  of  the 
entrance  to  a conventional  garden, which  is  flanked  on  the  further 
side  hy  two  chapels.  The  three  men,  crowned  with  laurel,  wear 
gracefully  draped  togas  over  long  rohes  corded  at  the  waist,  and 
form  a nohle  and  imposing  group. 

The  subjects  of  both  the  following  tapestries  illustrate  part  of  the 
same  story  as  the  preceding  eight,  hut  are  enclosed  in  entirely  differ? 
ent  borders,  are  enriched  with  gold  and  silver  threads,  and  hear  a 
different  royal  monogram. 

Artemisia,  in  the  ninth  tapestry,  rewards  the  successful  artists, 
who  stand  in  line  along  a corridor  leading  to  the  apartment  in  which 
the  main  scene  is  laid.  The  ^ueen  wears  a crown  and  costume 
heavily  enriched  with  gold  and  is  attended  hy  four  maids  of  honor, 
one  of  whom  carries  her  train.  The  second  artist  in  line  seems 
already  to  have  been  rewarded,  hut  the  first  seems  to  hesitate 
between  the  piece  he  holds  and  one  Artemisia  extends  towards 
him.  The  somher  architectural  background  is  an  admirable  foil  to 
the  warm  colors  of  the  picturesque  costumes. 

An  illustration  and  description  are  given  of  the  last  tapestry. 

In  the  center  of  each  top  border  of  eight  of  these  tapestries  is  a 
cartouche  enclosing  the  arms  of  France  and  Navarre.  These  arms 
consist  of  the  lilies  of  France  on  a dark  blue  ground,  and  the  crossed 
chains  of  Navarre  on  a rose  ground.  They  are  surmounted  hy  the 
royal  crown,  and  encircled  by  the  collar  of  the  order  of  St.  Michael, 
as  well  as  that  of  the  Holy  Spirit  with  its  pendant  cross.  In  the  cen? 
ter  of  the  bottom  border  is  a cartouche  which  encloses,  upon  a dark 
blue  ground,  two  crossed  batons  of  sovereignty  upon  which  rests  the 
cipher  of  Louis  XIII  encircled  hy  a ribbon.  To  the  right  and  left  of 
the  cartouches  in  both  top  and  bottom  borders  are  arabesque  designs 
ornamented  with  birds. 

In  the  center  of  each  lateral  border  is  a cartouche  enclosing,  upon 
a blue  ground,  a cameo  head  below  a basket  of  flowers.  A dove  is 
perched  on  the  top  of  each  of  the  lateral  cartouches,  and  pecks  at  the 
bouquet  of  leaves  and  fruit  which  hangs  hy  ribbons  from  the  car? 
touches  of  the  upper  corners,  which,  like  those  in  the  bottom  corners, 
enclose  an  arabesque  design.  Upon  these  lower  corner  cartouches 

190 


perch  parrots,  pecking  at  the  bouquet  of  leaves  and  fruit  suspended 
hy  ribbons  from  the  cartouches  of  the  lateral  borders. 

The  borders  of  the  two  last  tapestries  of  the  series  differ  greatly 
from  the  others.  The  central  cartouche  in  each  top  border  encloses 
an  oval  space  of  blue  and  white,  and  that  in  the  lower  border  the 
monogram  of  Marie  de  Medicis  and  four  batons  of  royalty  tied 
together  by  a ribbon,  upon  a dark  blue  ground.  Both  cartouches  are 
flanked  by  children’s  beads.  To  the  right  and  left  of  these  beads,  in 
both  top  and  bottom  borders  of  the  larger  tapestry,  are  oval  cars 
touches  enclosing  miniature  trophies  and  prisoners  of  war  in  relief 
upon  a gold  ground.  In  each  of  the  four  corners  of  both  tapestries  is 
a mask  on  a green  ground;  sprays  springing  from  it  into  the  top  and 
side  borders  enclose  the  beads  of  satyrs.  In  the  center  of  each  lateral 
border  is  a rectangular  cartouche  which  encloses  the  monogram  of 
Marie  de  Medicis,  interlaced  with  the  caduceus  by  a ribbon  on  a 
dark  blue  ground.  Above  and  below  are  oval  cartouches,  each  of 
which  encloses  an  allegorical  figure  in  refief  upon  a gold  ground. 

In  the  narrower  tapestry  the  cartouches  decorated  with  the  pics 
tures  of  the  prisoners  are  suppressed. 

The  cartouches  and  motives  in  all  of  the  ten  borders  are  attached 
to  the  tapestry  frames  and  stand  out  in  such  bold  relief  from  their 
very  dark  background  that  they  appear  to  be  banging  in  space. 
Gerspacb  speaks  of  these  borders  as  chefs  d’oeuvre.  He  considers 
them  superior  to  those  after  Le  Brun,  as  be  says,  “They  satisfies 
torily  carry  out  the  functions  of  a border,  which  is  to  isolate  the 
subject  without  attracting  too  strongly  the  attention.” 

Barberini  Collection. 

Ffoulke  Collection,  1889. 

Mrs.  Phoebe  A.  Hearst,  1896. 

Now  in  the  possession  of  John  R.  McLean,  Esq. 


VI 


THE  MIMIC  WAR 

Height,  13  ft.,  5 in.  Width,  20  ft.,  2 in. 

Mark  P ^ Signed  ^ 

IN  the  center  of  the  tapestry  a fort  surrounded  hy  water  is  being 
attacked.  In  the  left  center  plane  a boatload  of  besiegers  with  their 
standard  hearers  have  advanced  to  the  walls  of  the  fort,  and  a large 
troop  of  infantry,  led  hy  an  officer  carrying  the  white  flag  of  the 
Bourbons,  is  crossing  a bridge  above  their  heads.  In  the  foreground 
three  knights  on  horseback  and  several  on  foot  engage  the  besieged. 
A couple  of  men?at?arms  on  each  of  the  opposing  sides  are  standing 
in  a moat,  ready  to  fight  there.  The  Prince  and  his  governor  sur? 
vey  the  maneuvers  from  a position  of  advantage  behind  a parapet 
on  the  walls  of  a ruin.  That  it  is  a sham  battle  contrived  to  give  the 
Prince  lessons  in  military  tactics  is  shown  hy  the  peaceable  con? 
test  in  the  right  background,  where  some  soldiers  are  shooting  at  a 
mark  while  a number  of  spectators  watch  them. 

The  entire  composition  is  remarkably  full  of  spirit,  life  and  action, 
and  its  merits  grow  more  pronounced  under  critical  examination,  for 
the  weavers  have  not  only  illustrated  the  sham  battle  with  such  sue? 
cess  that  one  almost  fancies  it  areal  one,  but  have  interpreted  all  the 
minor  features  with  rare  skill  and  judgment. 

Now  in  the  possession  of  John  R.  McLean,  Esq. 


192 


X 

THE  COLOSSUS  OF  RHODES 
Height,  15  ft.,  6 in.  Width,  22  ft.,  2 in. 

Mark  P Signed  ^ 

IN  this  tapestry,  which  represents  the  subjugation  of  the  Rhodians 
by  the  Carians  under  Artemisia,  the  majestic  Colossus  stands  in 
grand  relief  astride  the  entrance  to  the  celebrated  harbor.  He  car? 
ries  a staff  in  one  hand  and  a bow  in  the  other. 

The  statue  appears  to  stand  quite  in  the  open,  with  the  harbor, 
several  boats,  the  quay  filled  with  people,  the  buildings  of  the  city, 
and  the  distant  hills,  all  behind  it.  The  perspective  effect  is  height? 
ened  by  the  shape  of  the  harbor,  and  by  the  long  stretch  of  coast  line 
with  architectural  motives  at  different  points.  On  the  right  is  a grand 
viewof the  open  sea  on  which  ride  two  galleys  filled  with  armed  men. 
Three  galleys  filled  with  soldiers  have  already  entered  the  harbor, 
while  a fourth,  the  stern  decorated  with  the  head  of  a wild  boar,  is 
just  passing  between  the  piers  which  support  the  Colossus.  The 
figure  of  Artemisia  dominates  all  others  in  the  boat.  She  wears  a 
helmet,  is  armed  with  a gorget  and  dagger  and  carries  a shield  deco? 
rated  with  the  head  of  Medusa.  As  in  other  scenes,  a veil  falls  from 
her  helmet.  The  figure  behind  her  may  be  intended  for  that  of  her 
son.  A red  banner  flies  at  the  stern  and  ivy  branches  entwine  the 
mast. 

The  high  lights  in  many  parts  of  this  tapestry  and  also  in  the  ninth 
piece  were  woven  in  gold,  hut  as  the  threads  used  were  rarely  pure 
gold,  but  made  of  silver  gilded  with  the  more  precious  metal,  in  many 
instances  time  has  worn  away  the  gold  and  exposed  the  silver,  as  on 
the  figure  of  the  Colossus. 

Now  in  the  possession  of  John  R.  McLean,  Esq. 


197 


THE  CORIOLANUS  SERIES 

i 

COMINIUS  CROWNING  CAIUS  MARCIUS  AND 
NAMING  HIM  CORIOLANUS 

Height,  12  ft.,  2 in.  'Width,  12  ft.,  10  in. 

Mark  P ^ Signed  ^ 

II 

CORIOLANUS  SUMMONED  BEFORE  THE  TRIBUNES 
Height,  12  ft.,  3 in.  'Width,  18  ft.,  7 in. 

Mark  P # P 

III 

CORIOLANUS  CONDEMNED  TO  PERPETUAL 

BANISHMENT 

Height,  12  ft.,  o in.  Wddth,  7 ft.,  5 in. 

IV 

CORIOLANUS  BIDDING  FAREWELL  TO  HIS 
MOTHER,  WIFE  AND  CHILDREN 

Height,  12  ft.,  1 in.  Width,  14  ft.,  o in. 

Mark  P ^ Signed  ^ 

V 

ASSASSINATION  OF  CORIOLANUS 
Height,  12  ft.,  3 in.  'Width,  10  ft.,  10  in. 

This  series  was  woven  during  the  first  half  of  the  XVII  century, 
at  the  early  Gobelins  manufactory  in  Paris,  under  the  supervision 
of  one  of  the  most  skillful  directors  of  that  hand  of  weavers  who,  at 
the  request  of  Henry  IV,  deserted  Flanders  in  the  hope  of  receiving 
better  pay  in  France.  It  hears  the  same  mark  and  a monogram  simk 
lar  to  that  on  one  of  the  Artemisia  sets  in  the  Garde=Meuble  at  Paris. 
The  tapestries  were  presented  by  Louis  XIII  to  Cardinal  Francis 
Barberini,  Papal  Legate  at  the  French  Court  in  1625. 

198 


The  story  of  Coriolanus’s  military  triumphs  and  subsequent  down? 
fall  is  graphically  described  in  these  five  pieces.  In  the  first,  Caius 
Marcius,  with  uncovered  head,  and  clad  in  armor,  stands  before  the 
Consul  Cominius,  who,  also  in  armor,  and  wearing  his  helmet  and 
long  official  mantle,  steps  down  from  the  palace  and  placing  an  ivy 
wreath  upon  the  head  of  the  young  hero,  gives  him  the  name  of 
Coriolanus.  Officers  and  soldiers  stand  around,  and  in  the  hacks 
ground,  before  the  city  walls  of  Carioli,  Romans  and  V olscians  are 
furiously  fighting. 

In  the  second,  Coriolanus,  arrayed  in  full  armor,  stands  in  the 
Forum  before  the  tribunes;  his  patrician  friends  are  gathered  behind 
him,  and  the  plebeians  crowd  close  to  the  balustrade  which  bars  their 
entrance  to  the  building.  The  members  of  the  tribune  are  seated  or 
standing  upon  a raised  platform  on  the  right.  The  richly  carved  mar? 
hie  columns  of  the  Forum  and  the  inlaid  floor  are  admirably  rendered. 

Instead  of  defending  himself  against  his  accusers,  Coriolanus 
showed  such  contempt  for  the  people,  that  they  became  furious, 
and,  in  the  third  tapestry,  the  scene  of  his  condemnation  by  the 
tribune  is  portrayed.  They  first  ordered  him  thrown  from  theTar? 
peian  Rock,  hut  this  decree  was  ameliorated  to  “ perpetual  banish? 
ment.” 

After  bidding  farewell  to  his  family,  as  illustrated  in  the  fourth 
piece,  Coriolanus  went  directly  to  the  Volscian  nation  and  offered 
to  lead  its  armies  against  Rome.  This  he  did  so  successfully  that 
Tullus,  the  Volscian  ruler,  became  envious  and,  assisted  by  others, 
assassinated  him  as  he  was  leaving  the  Senate  Chamber.  This  act 
is  vividly  portrayed  in  the  fifth  tapestry.  Tullus  has  seized  Coriolan? 
us  by  the  right  shoulder  and  plunges  a dagger  into  his  body.  A con? 
federate  holds  him  by  the  left  shoulder  and  prepares  to  strike  him 
with  a similar  weapon;  another  starts  forward  with  a drawn 
sword,  while  a fourth  bars  the  way  with  an  extended  spear;  others 
stand  behind.  In  the  background  lies  the  Volscian  city,  the  people 
moving  to  and  fro  upon  its  streets. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 

Now  in  the  possession  of  Mrs.  Phoebe  A.  Hearst. 


*99 


IV 


CORIOL ANUS  BIDDING  FAREWELL  TO  HIS 
MOTHER,  WIFE  AND  CHILDREN 

Height,  12  ft.,  i in.  Width,  14  ft.,  o in. 

Mark  P *£*  Signed  $ 

IN  this  tapestry  the  principal  personages  are  grouped  on  the  left, 
at  the  entrance  of  a marble  palace,  whose  architectural  features 
extend  into  the  background.  Coriolanus,  wearing  the  same  suit  of 
armor  as  pictured  in  the  second  tapestry,  is  in  the  act  of  parting  from 
his  family.  His  right  hand  clasps  that  of  his  wife  who  stands  directly 
in  front  of  him.  She  is  dressed  in  the  usual  Roman  costume  of  that 
period.  A mantle  is  suspended  from  her  shoulders  and  a veil  falls 
hack  from  her  hair.  One  of  her  two  sons  clings  to  her  tunic,  as  if 
frightened,  while  the  other,  with  hands  clasped  together,  looks  into 
his  father’s  face.  Both  children  have  hare  arms  and  legs  and  wear 
short  white  tunics.  Close  behind  this  group  stands  the  mother  of 
Coriolanus  and  in  the  doorway  are  seen  the  heads  of  three  women. 
The  group  of  Romans  on  the  right,  clad  in  armor  and  wearing  their 
cloaks,  represent  the  patrician  friends  of  Coriolanus  waiting  to  escort 
him  to  the  city  gates.  Three  tribunes  stand  at  the  balustrade  of  the 
palace  and,  in  the  background,  cavalry  are  seen  both  within  and 
without  the  courtyard  gateway. 

The  border  of  this  tapestry  is  the  same  as  those  of  the  four  others 
of  this  series. 

The  principal  motives  are  two  mouldings,  which  are  partly  dark 
and  partly  light,  one  half  upon  a blue  foundation  and  the  other  half 
upon  a foundation  almost  in  grisaille.  In  the  center  of  both  top  and 
bottom  borders  are  small  pictures  of  two  knights  on  horseback. 
Cartouches  enclosing  medallions,  upon  which  are  full  length  figures, 
occupy  the  four  corners  and  centers  of  the  lateral  borders.  At  the 
terminations  of  the  cartouches  are  female  heads.  There  is  great 
wealth  of  color,  which  is  most  harmoniously  blended. 

Now  in  the  possession  of  Mrs.  Phoebe  A.  Hearst. 


200 


THE  RINALDO  AND  ARMIDA  SERIES 


i 

ARMIDA  BEARS  RINALDO  AWAY  IN  HER  ARMS 
Height,  14  ft.,  9 in.  WHth,  10  ft.,  5 in. 

Mark  and  Signature  P^R 


II 

ARMIDA  CARRIES  RINALDO  TO  HER 
ENCHANTED  CAR 


Height,  14  ft.,  9 in.  Width,  14  ft.,  3 in. 


Mark  and  Signature  P 


III 

CARLO  AND  UBALDO  AT  THE  FOUNTAIN 

OF  LAUGHTER 

Height,  14  ft.,  9 in.  Width,  12  ft.,  7 in. 

Mark  and  Signature  R 

IV 

RINALDO  IN  THE  GARDEN  OF  ARMIDA’S  PALACE 
Height,  14  ft.,  11  in.  Width,  16  ft.,  5 in. 

Mark  and  Signature  P ^ R 


V 

RINALDO  SEES  HIS  IMAGE  UPON  THE 
DIAMOND  SHIELD 

Height,  14  ft.,  11  in.  W^idth,  12  ft.,  8 in. 

Mark  and  Signature  R (%3 


203 


VI 

RINALDO  SAILS  AWAY  FROM  THE  MAGIC  ISLAND 
Height,  14  ft.,  9 in.  Width,  10  ft.,  6 in. 

Mark  and  Signature  P R 

VII 

ARMIDA  LEAVES  THE  MAGIC  ISLAND 
Height,  15  ft.,  1 in.  Width,  6 ft.,  3 in. 

Mark  and  Signature  P R 

VIII 

ARMIDA  INVOKING  THE  POWERS  OF  MAGIC 
Height,  15  ft.,  1 in.  Width,  7 ft.,  8 in. 

Mark  and  Signature  P ^ R 

IX 

ARMIDA  FLEEING  FROM  THE  FIELD  OF  BATTLE 
Height,  14  ft.,  11  in.  Width,  6 ft.,  1 in. 

Signed  R 

X 

RINALDO  PREVENTING  THE  SUICIDE  OF  ARMIDA 
Height,  14  ft.,  8 in.  V/idth,  10  ft.,  4 in. 

Mark  and  Signature  P R 

These  tapestries  were  woven  in  one  of  the  royal  ateliers  that 
were  subsidized  under  Henry  IV  and  given  the  right  to  use  as  a 
mark  the  letter  P and  fleur*de*lis  of  France.  Presumably  this  series 
issued  from  the  early  Gobelins  manufactory  or  the  one  started  by 
Raphael  de  la  Planche  after  he  left  the  Gobelins  in  1634.  They  are 
signed  by  him  with  the  letter  R.  Simon  Vouet  was  one  of  the  chief 
designers  at  this  time,  and  as  there  formerly  existed  in  the  Garde* 
Meuble  at  Paris  certain  tapestries  after  him  which  represented  parts 


204 


of  the  same  history,  and  had  borders  containing  some  of  tbe  motives 
prominent  in  tbe  borders  of  these  tapestries,  with  tbe  additionof  tbe 
royal  arms,  tbe  conclusion  is  naturally  reached  that  be  painted  tbe 
cartoons  for  this  series,  which  was  presented  by  Louis  XIII  to  tbe 
Cardinal  Barberini  while  tbe  latter  was  papal  legate  to  France  in  1625. 

A manuscript  in  tbe  Barberini  Library  contains  an  inventory 
which  mentions  tbe  Rinaldo  and  Armida  tapestries,  and  several 
other  series,  as  having  been  presented  to  tbe  Cardinal  by  tbe  King. 
In  a later  inventory  made  for  Cardinal  Carlo  Barberini  in  1695,  they 
are  inscribed  as  “Arras  de  Rinaldo,  10  pieces.” 

Tbe  story  of  Rinaldo  and  Armida  told  in  Torquato  Tasso’s  “Jeru? 
salem  Delivered”  is  vividly  illustrated  in  this  magnificent  series. 

For  tbe  subject  of  tbe  first  tapestry  tbe  artist  has  chosen  tbe 
moment  when  Armida,  having  thrown  Rinaldo  into  a magic  sleep 
upon  an  enchanted  island,  looks  down  upon  him  with  eyes  changing 
from  bate  to  love.  Tbe  band  bolding  a dagger  becomes  useless,  as 
Cupid  speeds  an  arrow  toward  her  heart. 

She  also  appears  as  a winged  being  in  a cloud  upheld  by  cherubs 
and  bearing  away  tbe  unconscious  Paladin  in  her  arms. 

In  tbe  second  piece,  Armida,  having  decked  her  sleeping  victim 
with  a garland  of  flowers,  is  in  tbe  act  of  placing  him  in  her  enchanted 
car.  In  this  task  she  is  assisted  by  one  of  her  maidens  and  by  two 
cherubs,  while  a third,  poised  like  a bird  above  tbe  group,  scatters 
flowers  upon  tbe  Paladin.  Facing  tbe  sea  stand  two  spirited  horses 
richly  caparisoned  and  ready  for  tbe  celestial  flight. 

Armida  wears  a richly  embroidered  mantle  and  tbe  attendant 
nymph  carries  a huge  sunflower. 

Carlo  and  Ubaldo’s  search  for  Rinaldo  and  their  finding  of  him  in 
Armida’s  beautiful  garden  is  pictured  in  tbe  third  and  fourth  tapes? 
tries,  of  which  full  descriptions  and  illustrations  are  given. 

Having  waited  for  tbe  moment  when  be  was  alone,  these  two 
friends  appear  suddenly  before  Rinaldo  and  bold  before  him  tbe  dia? 
mond  shield  as  shown  in  tbe  fifth  tapestry.  Rinaldo  reclines  upon 
tbe  grass  with  tbe  mirror  of  Armida  at  bis  side;  bis  bands  are  raised 
in  astonishment,  and  be  gazes  with  shame  and  regret  at  bis  reflected 
image  in  tbe  shield  held  by  Carlo.  In  bis  right  band  Ubaldo  bolds 
aloft  tbe  golden  wand,  and  extending  bis  left  towards  tbe  Paladin, 
makes  an  appeal  to  bis  honor  and  welbknown  valor. 


205 


All  three  knights  are  strong  athletic  men  and  wear  rich  costumes. 

Rinaldo  having  been  persuaded  to  flee  from  the  magic  influences 
which  surround  him,  the  sixth  tapestry  shows  him  standing  in  a boat 
between  Carlo  and  Ubaldo.  Armida  lies  unconscious  on  the  shore, 
while  the  boat  seems  to  glide  away  quietly  upon  the  water.  The 
right  hands  of  Rinaldo  and  Ubaldo  are  raised  with  gestures  of  diss 
may  and  all  three  are  gazing  sadly  at  the  griefistricken  and  deserted 
princess. 

Armida,  with  feelings  of  bitterness  and  hate,  causes  her  palace 
and  gardens  to  he  destroyed,  and  mounts  her  car,  intent  on  venge* 
ance.  In  the  seventh  tapestry  the  artist  has  posed  her  gracefully 
in  her  tiny  car  adorned  with  female  figures,  but  as  this  piece  was  made 
for  a narrow  place,  only  the  hind  quarters  of  the  horses  are  visible. 
The  colors  of  the  car  and  Armida’s  costume  blend  so  harmoniously 
with  the  landscape  background  that  they  almost  appear  to  melt 
into  it. 

The  eighth  tapestry  pictures  Armida  practicing  the  incantations 
with  which  she  hoped  to  bring  misfortune  to  her  former  lover.  The 
magnificent  figure  of  the  sorceress  is  almost  faultless  in  design,  and  is 
clothed  in  a superb  costume.  Standing  in  a graceful  attitude,  with 
her  left  arm  raised  above  her  head,  she  recites  the  incantation,  and 
points  with  her  wizard’s  wand  to  the  open  book,  which  lies  upon  the 
ground  at  her  feet.  Fire  is  spouting  from  the  earth,  and  the  wind 
blows  dense  smoke  into  the  forest.  The  effect  is  rich  and  imposing, 
and  one  rarely  sees  a tapestry  composed  of  a single  personage  that 
possesses  equal  artistic  merit. 

When  the  Christian  and  Pagan  armies  met,  and  Armida  saw  the 
latter,  which  she  had  tried  to  aid  by  her  magic  art,  defeated  and 
scattered,  and  knew  that  Rinaldo  had  slain  the  knights  she  had  sent 
against  him,  she  also  turned  and  fled.  The  ninth  tapestry  shows  the 
sorceress,  mounted  upon  a spirited  horse,  galloping  from  the  battle 
field,  while  the  little  god  Cupid  follows  her  and  whips  her  with  the 
scourge  of  scorn. 

The  last  tapestry  shows  that  Armida  found  a quiet  spot  and  there 
attempted  to  end  her  life.  She  is  seated  upon  a grassy  knoll,  and 
having  taken  an  arrow  from  the  quiver  at  her  side,  is  on  the  point 
of  plunging  it  into  her  bosom  when  Rinaldo,  who  kneels  behind  her, 
seizes  her  hand  and  prevents  the  tragedy.  The  cherub,  who  hovers 

206 


above  tbem,  with  a palm  branch  in  bis  band,  beautifully  illustrates 
tbe  peace  wbicb  bas  been  estabHsbed  between  tbeir  warring  hearts. 

Wliile  tbe  general  effect  of  tbe  borders  of  tbe  tapestries  is  remarks 
able  for  tbe  finished  unity  and  harmony  of  tbeir  component  parts, 
there  are  frequent  variations  in  tbe  details  of tbe  architectural  designs. 

Tbe  cartouche  in  tbe  center  of  tbe  top  border  encloses  an  allegorb 
cal  figure,  and  is  supported  by  two  winged  cherubs,  each  bolding  in 
one  band  a spray  of  oak  leaves,  and  in  tbe  other  a palm  branch ; bes 
neatb  tbem  swing  two  bouquets  of  fruit  and  leaves.  Tbe  cartouche 
in  tbe  center  of  tbe  bottom  border  also  encloses  an  allegorical  figure. 
It  is  crowned  with  a helmet  and  plumes,  and  above  it  are  four  flags 
and  two  rams’  beads.  It  is  supported  by  two  winged  cherubs,  who 
bold  a festoon  of  leaves  gracefully  suspended  between  tbem.  In  each 
upper  corner  of  tbe  borders  there  is  a winged  female  figure  bolding 
two  pastoral  horns,  and  in  each  bottom  corner  there  are  satyrs  plays 
ing  andwrestkng  together.  A cherub,  wearing  branches  of  oak  leaves 
across  bis  shoulder,  is  seated  upon  each  of  tbe  lateral  cartouches 
wbicb  enclose  medaHions  of  allegorical  female  figures. 

All  tbe  cartouches,  and  all  tbe  figures  as  well  as  tbe  floral  and 
other  ornamentations  are  in  grisaille,  and  are  connected  by  graceful 
arabesque  designs  woven  upon  a rich  blue  background.  Tbe  extends 
ing  of  tbe  cartouches  of  tbe  top  and  bottom  borders  into  tbe  tapestries 
adds  much  to  tbe  richness  and  beauty  of  tbe  general  effect. 

Three  of  tbe  tapestries  were  intended  for  narrow  places  and  were 
v/oven  without  side  borders. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 

Now  in  tbe  possession  of  Mrs.  Hamilton  McK.  Twombly. 


207 


Ill 

CARLO  AND  UBALDO  AT  THE  FOUNTAIN 

OF  LAUGHTER 

Height,  14  ft.,  9 in.  Width,  14  ft.,  3 in. 

Mark  and  Signature  ^ R 

THE  figure  of  Ubaldo  is  on  the  left,  and  he  holds  his  wand  over 
the  head  of  the  siren  who  stands  in  the  fountain  before  him.  By 
his  side,  and  somewhat  in  shadow,  is  Carlo,  who  raises  the  diamond 
shield  in  defense  against  the  siren’s  charms.  Both  warriors  wear 
coats  of  mail;  rich  mantles  are  draped  about  them,  and  sandals  are 
upon  their  feet.  They  have  heavily  decorated  helmets  with  nodding 
plumes.  In  front  of  them  is  a marble  fountain,  from  which  water 
splashes  into  a basin,  where  two  sirens  are  playing,  one  of  whom 
turns  towards  the  intruders  of  the  garden.  She  stands  knee?deep 
in  water,  her  right  hand  outstretched,  and  the  left  holding  her  mans 
tie.  Behind  her,  quite  in  shadow,  is  another  graceful  figure.  Trees 
form  the  background  of  this  attractive  scene. 

At  the  foot  of  a large  old  tree  is  a banquet  table  upon  which  is  a 
rich  service  of  plate  and  glass. 

The  composition  is  skillfully  rendered  and  the  colors  in  this  piece, 
as  well  as  in  all  the  others,  are  most  harmoniously  blended. 

Now  in  the  possession  of  Mrs.  Hamilton  McK.  Twombly. 


208 


( 


/ 


2 2 


IV 

RINALDO  IN  THE  GARDEN  OF  ARMIDA’S  PALACE 
Height,  14  ft.,  11  in.  'Width,  16  ft.,  5 in. 

Mark  and  Signature  P R 

THE  superb  background  scene  of  marble  pillars,  arches  and  stats 
ues,  gives  this  tapestry  remarkable  perspective  qualities.  In  the 
left  foreground,  partly  bidden  by  trees,  stand  Carlo  and  Ubaldo.  One 
has  both  bands  raised  in  astonishment  at  the  sight  that  meets  bis  gaze, 
and  the  other,  while  grasping  the  trunk  of  a dead  tree,  leans  earnestly 
forward.  On  the  extreme  right,  Rinaldo  reclines  gracefully  upon 
the  ground,  and  with  bis  right  band  bolds  a mirror,  into  which 
Armida  gazes  as  she  kneels  beside  him  and  adorns  her  hair  with  a 
string  of  pearls.  A cherub  approaches  the  pair  with  bis  scarf  full  of 
flowers;  another  steps  into  the  pool  of  water  to  fill  bis  shell,  while  a 
third  carries  a beautiful  necklace  towards  Armida.  Two  ducks 
swim  in  the  pool ; another  with  outstretched  wings  leaves  the  water, 
and  two  small  birds  perch  upon  a twig  near  by.  In  the  central  hacks 
ground  is  the  portico  of  a palace  with  two  rows  of  marble  columns. 
The  marble  entrance  to  the  garden  is  just  beyond  and  through  the 
arch  there  is  a glimpse  of  distant  foliage. 

Artistically  this  tapestry  is  the  most  important  of  the  series. 
Now  in  the  possession  of  Mrs.  Hamilton  McK.  Twombly. 


213 


RINALDO  AND  ARMIDA 
Height,  4 ft.,  6 in.  Width,  5 ft.,  7 in. 

THIS  panel,  which  has  a frameslike  border,  is  part  of  one  of  the 
tapestries  of  a series  illustrating  the  story  of  Rinaldo  and 
Armida.  It  was  woven  at  the  royal  manufactory  during  the  reign 
of  Louis  XIII,  under  de  Comans  and  de  la  Planche,  who  were  sums 
moned  from  Flanders  by  Henry  IV,  and  by  him  given  titles  of  nos 
hility  and  extraordinary  rights  and  privileges  in  order  that  they 
might  he  induced  to  teach  the  French  the  art  of  tapestry  weaving 
according  to  Flemish  methods. 

The  portico,  shown  in  the  illustration,  represents  a part  of  the 
palace  built  by  enchantment  on  the  island  of  Teneriffe,  at  the  corns 
mand  ofArmida,  a Saracen  sorceress,  who  entangled  Rinaldo  in  her 
toils  in  order  that  she  might  deprive  the  Crusaders  of  his  prowess  in 
their  battles.  In  the  foreground  is  the  figure  of  Armida,  seated,  and 
occupied  in  arranging  a string  of  pearls  about  her  head,  as  she  gazes 
into  a mirror  held  by  Rinaldo,  who  reclines  beside  her.  A cherub 
holds  in  his  extended  hands  a necklace  of  gold,  and  another  one  lifts 
a chain  from  the  red  box  which  stands  between  them. 

The  reddish  violet  columns  of  the  portico,  the  rich  curtain  of 
variegated  colors  hanging  above  the  group,  the  dark  trunks  of  the 
trees,  the  deep  blues,  greens  and  reds  in  the  leaves  and  flowers  form 
an  admirable  foil  to  the  flesh  tints  of  the  lovers  and  the  cherubs. 
The  peculiar  shade  of  red  in  the  flowers  is  evidence  that  this  piece 
was  woven  in  the  early  part  of  the  XVII  century  when  the  Flem* 
ish  weavers  were  still  influenced  by  the  Gothic  traditions  of  their 
native  land. 

Ffoulke  Collection. 


214 


/ 


THE  AMINTA  SERIES 


i 

SYLVIA  CHARMS  AWAY  THE  PAIN  OF  THE  BEE 
STING  FROM  THE  CHEEK  OF  PHYLLIS  IN 
THE  PRESENCE  OF  AMINTA 

Height,  io  ft.,  io  in.  Width,  10  ft.,  4 in. 

II 

DAPHNE  ATTEMPTS  TO  CONVINCE  SYLVIA  THAT 
TO  THE  FEMININE  HEART  LOVE  IS  A NECES= 
SITY,  AND  BEGS  HER  TO  FORGIVE 
AMINTA 

Height,  10  ft.,  8 in.  Width,  8 ft.,  3 in. 

III 

DAPHNE  AND  TIRSIS  DECIDE  TO  MAKE  ANOTHER 
ATTEMPT  TO  SOFTEN  SYLVIA'S  HEART 
TOWARDS  AMINTA 

Height,  10  ft.,  8 in.  Width,  7 ft.,  8 in. 

IV 

RESCUE  OF  SYLVIA  BY  AMINTA  AND  TIRSIS, 
AND  FLIGHT  OF  THE  SATYR 

Height,  10  ft.,  8 in.  Width,  12  ft.,  o in. 

V 

SYLVIA  AND  NERINE  HUNTING  WITH  TWO  DOGS 

Height,  10  ft.,  11  in.  Width,  9 ft.,  8 in. 


2I7 


VI 


DAPHNE  PREVENTS  THE  SUICIDE  OF  AMINTA. 
NERINE  STATES  HER  BELIEF  IN  SYLVIAS 
DEATH,  AND  AS  PROOF  THEREOF 

SHOWS  HER  VEIL  AND  JAVE* 

LIN  WHICH  SHE  HAS 
FOUND 

Height,  io  ft.,  io  in.  Width,  12  ft.,  3 in. 

VII 

DESPAIR  OF  SYLVIA  WHEN  SHE  LEARNS  FROM 
ERGASTE  THAT  AMINTA,  ON  HEARING  THE 
REPORT  OF  HER  DEATH,  HAS  THROWN 
HIMSELF  FROM  A PRECIPICE 

Height,  10  ft.,  8 in.  Width,  14  ft.,  6 in. 

VIII 

SYLVIA,  IN  THE  PRESENCE  OF  DAPHNE,  NERINE, 
TIRSIS,  ERGASTE,  ELPHIN  AND  OTHERS, 
CHARMS  THE  UNCONSCIOUS  AMINTA 
BACK  TO  LIFE 

Height,  10  ft.,  11  in.  fWidth,  16  ft.,  10  in. 

This  series  was  woven  very  early  in  the  XVII  century  in  the 
ateliers  of  Marc  de  Comans  and  Francois  de  la  Planche,  who  res 

9 

ceived  their  contracts  in  1607  from  Henry  IV  and  were  ordered  to 
sign  their  works  executed  in  Paris  with  P — fleur*dedis,  “Lily  of 
France.”  These  tapestries  were  either  purchased  by  Cardinal  Frans 
cois  Barberini  while  legate  at  the  French  Court  in  1625,  or  presented 
to  him  at  that  time  by  Louis  XIII.  They  are  mentioned  in  the  manus 
scripts  of  the  Barberini  family,  Vol.  XLVIII,  pages  72  to  77,  and  also 
in  the  inventory  of  its  tapestries  compiled  in  1695. 

The  subjects  are  taken  from  Tasso’s  pastoral  drama,  entitled 
“Aminta,”  which  had  a wonderful  success,  particularly  in  France, 
when  it  was  published  in  1573.  Tasso  is  the  creator  of  the  singular 

218 


world  here  portrayed,  where  personages  of  the  most  different  com 
ditions  are  brought  together,  shepherds,  shepherdesses,  nymphs, 
goddesses,  satyrs,  poets,  and  magicians,  all  uniting  in  one  common 
preoccupation,  love. 

In  the  first  tapestry  the  heart  of  the  shepherd  Amin  ta  is  inflamed 
by  love  as  he  sees  the  nymph  Sylvia  suck  poison  from  the  cheek  of 
Phyllis, who  has  been  stung  by  a bee;  but  Sylvia  proudly  rejected 
his  love  and  the  second  tapestry  shows  Daphne  earnestly  endeavors 
ing  to  persuade  her  to  relent.  As  Daphne  failed  in  her  attempt,  she 
is  next  seen  plotting  with  Tirsis  how  to  soften  Sylvia’s  heart.  In  the 
fourth  tapestry  Aminta  and  Tirsis  have  rushed  to  the  rescue  of 
Sylvia  and  Daphne,  who  have  been  surprised  by  a satyr.  The  fifth 
piece  shows  Sylvia  and  Nerine  hunting  with  two  dogs.  Then  comes 
the  startling  scene  where  Nerine  tells  of  the  probable  death  of  Syb 
via ; this  is  followed  by  one  in  which  Sylvia  mourns  Aminta’s  death, 
for  Ergaste  tells  her  that  the  shepherd,  hearing  that  she  had  been 
killed,  rushed  away  into  the  forest,  and  flung  himself  down  into  a 
deep  chasm.  Such  devotion  deeply  touches  Sylvia,  and  in  the  last 
tapestry,  of  which  an  illustration  and  full  description  are  given,  the 
rough  course  of  Aminta’s  love  finds  its  happy  ending. 

Some,  or  all,  of  the  subjects  are  signed,  and  are  marked  with  a P 
and  fleur^dedis,  hut,  as  the  edges  of  the  tapestries  are  now  covered 
by  wooden  mouldings,  it  has  been  impossible  to  properly  assign  the 
marks. 

Bar  her  ini  Collection. 

Ffoulke  Collection,  1889. 

Now  in  the  possession  of  Mrs.  Hamilton  McK.  Twomhly. 


219 


VI 

DAPHNE  PREVENTS  THE  SUICIDE  OF  AMINTA 
Height,  ioft.,  ioin.  V/idth,  12  ft.,  10  in. 

IN  the  group  of  three  on  the  left,  Aminta  is  seated  at  the  foot  of  a tree, 
his  long  staff  rests  against  his  bended  knee,  and  in  his  right  hand 
he  holds  a dagger.  Daphne  stands  directly  behind  him;  she  has  seized 
his  hand  and  is  bending  towards  him,  while  close  to  her  is  seen  Tirsis, 
arrived  in  such  haste  that  his  mantle  is  still  lifted  above  his  head  by 
the  breeze.  On  the  right  is  the  running  figure  of  Nerine,  who,  with 
her  right  arm  outstretched,  points  towards  the  forest.  The  scene 
vividly  illustrates  that  part  of  the  poem  which  describes  the  prob* 
able  fate  of  Sylvia. 

In  the  middle  of  the  top  and  bottom  borders,  as  well  as  in  each  of 
the  four  corners,  there  is  a cartouche  with  a medallion  center,  enclos* 
ing  upon  a blue  ground,  a how,  a quiver  of  arrows,  and  two  lighted 
torches  tied  together  with  cords  having  tassels  after  the  style  of  those 
borne  on  the  escutcheon  of  Anne  of  Brittany.  The  cartouche  in  the 
top  border  only  is  supported  by  two  cherubs.  The  rest  of  the  decora* 
tion  in  both  top  and  bottom  borders  consists  of  vases  of  flowers  with 
cornucopias  on  either  side.  The  lateral  borders  have,  in  the  center, 
cartouches  with  rose*colored  medallions  containing  the  figure  of  the 
god  Hymen  holding  a lighted  torch  in  each  hand.  A cherub  in  gri* 
saille  is  seated  upon  each  of  these  lateral  cartouches  and  holds  a vase 
of  flowers  upon  his  head.  Beneath,  a basket  of  flowers  is  suspended 
by  a ribbon,  and  a bouquet  of  flowers  rises  from  each  bottom  corner. 
The  borders  in  all  the  other  tapestries  of  the  series  are  exactly  like 
that  of  the  sixth  tapestry,  except  that  in  the  second  and  third  there  are 
no  cornucopias  in  the  top  and  bottom  borders,  only  vases  of  flowers. 

The  dark,  or  black  background  of  this  unusual  border  throws  all 
the  ornamentation  into  relief.  The  baskets  of  flowers  seem  to  hang 
in  space,  and  the  cornucopias  protrude  into  the  open.  This  border 
has  its  counterpart  among  the  treasures  of  the  Gobelins  where  it 
surrounds  a tapestry  representing  the  “Hunt  of  Meleager.” 

Now  in  the  possession  of  Mrs.  Hamilton  McK.  Twombly. 


220 


t 


VIII 

SYLVIA  CHARMS  THE  UNCONSCIOUS  AMINTA 

BACK  TO  LIFE 

Height,  io  ft.,  ii  in.  Width,  16  ft.,  io  in. 

UPON  a bed  of  leaves,  at  the  foot  of  a group  of  rocks  and  trees,  lies 
the  unconscious  form  of  Aminta.  The  body  is  foreshortened 
and  the  head  is  towards  the  center  of  the  foreground.  On  the  left  are 
Tirsis  and  Ergaste  and  three  shepherds  with  their  long  staffs.  All 
are  simply  dressed  and  four  are  bareheaded.  On  the  extreme  right. 
Daphne  and  Nerine,  with  gestures  of  astonishment,  listen  to  Elphin, 
who  tells  how  Aminta  in  falling  had  been  caught  in  a thick  mass 
of  vines,  which  gave  way  slowly,  so  that  he  was  not  dead,  hut  only 
bruised  and  unconscious.  Sylvia  stands  in  the  center,  bending  over 
Aminta.  With  her  right  hand  holding  his  left,  and  using  words  of 
endearment,  she  recalls  him  to  life  and  love. 

This  tapestry  and  all  the  others  of  the  series  are  surprisingly  well 
preserved  both  in  color  and  tissue,  as  their  quality  and  artistic  worth 
made  them  too  valuable  for  ordinary  uses  and  reserved  them  for 
especial  occasions  of  pomp  and  ceremony.  The  fact  that  they  were 
woven  under  the  direction  of  de  Comans  and  de  la  Planche  adds 
much  to  their  value.  Jules  Guiffrey  writes,  in  his  “History  of  French 
Tapestry,”  that  he  considers  “the  products  of  these  ateliers  compare 
able  for  the  perfection  of  their  execution  with  the  most  faultless  and 
the  most  vaunted  of  the  time  of  Le  Brun  and  Colbert.” 

These  are  unquestioned  chefs  d'oeuvre  of  the  early  Gobelins,  and 
possess  all  those  decorative  attributes  which  constitute  the  great 
superiority  of  early  productions  over  those  of  more  modern  times. 
Now  in  the  possession  of  Mrs.  Hamilton  McK.  Twombly. 


225 


CONCERT  BY  THE  GOD  PAN 

Height,  7 ft.,  7 in.  Width,  9 ft.,  5 in. 

THIS  tapestry  was  woven  about  the  middle  of  the  XVII  century 
in  the  atelier  of  Jean  Lefevre.  It  is  almost  exclusively  of  silk 
interwoven  with  gold  threads. 

Behind  a balustrade  are  thirteen  figures,  satyrs,  nymphs  and 
children,  represented  at  halfilength.  One  satyr  hears  a basket  of 
fruit;  two  others  carry  instruments  of  music,  while  Pan  plays  upon 
his  pastoral  pipe;  two  nymphs  follow  the  music  with  scroll  and 
hook,  another  carries  a basket  of  fruit,  and  a fourth  drops  a hunch  of 
plums  into  a cup  held  by  one  of  the  two  children.  On  the  extreme 
right  a nymph  leans  upon  the  balustrade.  In  the  center,  one  of  the 
satyrs  bends  forward  as  a nymph  directly  behind  him  places  her 
hand  upon  his  shoulder.  Some  flowers  rest  upon  the  balustrade; 
behind  rise  three  columns.  On  the  right,  in  the  landscape  backs 
ground,  is  a large  unfinished  building  of  antique  design.  The  cos* 
tumes  are  classical. 

The  border  is  ornamented  with  termini  representing  Dianas  of 
Ephesus,  cupids,  sitting  dogs,  foliage,  and  emblems  of  unusual  graces 
fulness,  which  appear  in  relief  upon  a groundwork  of  yellow  silk 
threads  of  brilliant  richness. 

The  composition  of  the  subject  surrounded  by  this  exquisite  border 
is  admirable,  and  the  commingling  of  the  swarthy  coloring  of  the 
satyrs  and  lovely  fairness  of  the  nymphs  is  most  effectively  and 
skillfully  treated. 

In  the  collection  of  Baron  Spitzer  were  three  tapestries,  woven 
under  Lefevre,  entitled  “ Bacchanalian  Scenes.”  These  subjects  are 
surrounded  by  borders  similar  in  coloring,  design  and  arrangement 
of  details  to  the  one  here  described  and  illustrated.  Indeed,  so  alike 
are  all  four  tapestries  in  quality,  workmanship,  prevailing  colors, 
and  artistic  importance,  as  well  as  in  size,  and  general  posing  of  the 
halfilength  figures  of satyrs  and  nymphs  above  a balustrade,  that  in  all 
probability  they  formed  part  of  a series  of  five  or  more  compositions. 

Eugene  Muntz,  in  his  work  entitled  “La  Tapisserie,”  gives  on 
page  263  an  illustration  of  a piece  called  “The  Toilet  of  a Princess” 
by  Lefevre,  also  in  the  Spitzer  collection,  and  of  the  same  style  and 
character  as  the  “Concert  by  the  God  Pan.” 

226 


■ 


The  high  praise  he  gives  to  the  former  tapestry  might  he  bestowed 
with  equal  justice  upon  the  latter.  The  two  pieces  are  alike  in  techs 
nique,  skillful  blending  of  tones,  and  that  harmonious  coloring  in 
which  Paris  excelled  during  the  XVII  century.  Both  subjects  are 
chefs  d’oeuvre  of  Lefevre,  and  the  “Concert  by  the  God  Pan”  is  ens 
titled  to  play  the  same  artistic  role  in  America  that  Eugene  Muntz 
and  others  have  awarded  the  “Toilet  of  a Princess”  in  France. 

Ffoulke  Collection,  1891. 

Now  in  the  possession  of  Mrs.  Phoebe  A.  Hearst. 


THE  ARMIDA  PANEL 
Height,  io  ft.,  6 in.  Width,  4 ft.,  8 in. 

ACCORDING  to  M.  E.  Gerspach,  director  of  the  Gobelins 
from  1885  to  1893,  this  exquisite  piece  was  woven  at  that 
establishment  during  the  second  half  of  the  XVII  century,  and 
is  evidently  the  combined  work  of  Jean  Jans  and  Jean  Lefevre,  two 
celebrated  rival  weavers.  It  is  possible  that  the  panel  is  a fragment 
of  a much  larger  tapestry  and  adapted  to  the  beautiful  border  which 
encloses  it. 

In  the  main  composition  the  trees,  herbage,  and  flesh  tints  pos= 
sess  the  individual  characteristics  of  Jans.  The  border,  while  shows 
ing  the  same  fineness  of  weave,  is  of  a different  character.  Lefevre 
was  celebrated  for  the  skill  with  which  he  delineated  children  and 
cherubs,  and  his  style  showed  that  it  was  greatly  influenced  by 
Italian  art,  the  result  of  his  long  residence  in  that  country.  An  illus* 
tration  of  a similar  border  by  him  is  given  in  “ La  Tapisserie,”  by 
Eugene  Miintz. 

The  subject  which  is  here  illustrated  is  drawn  from  that  part  of 
Tasso’s  “Jerusalem  Delivered”  which  dwells  upon  the  action  of 
Armida  after  the  destruction  of  her  palace,  subsequent  to  Rinaldo’s 
return  to  the  Crusaders’  army.  Between  the  trees,  on  the  edge  of  a 
forest,  is  seen  the  head  of  a horse,  and  the  half  figure  of  a finedooking 
woman  who  carries  a cruse.  The  shades  and  tones  of  the  varied 
green  foliage  are  excellent. 

The  motives  of  the  attractive  border  are  developed  upon  a lumf 
nous,  light  yellow  foundation,  which  brings  them  out  in  delightful 
relief.  In  each  of  the  top  corners  are  two  cherubs.  The  one  reclin* 
ing  in  the  top  border  clasps  his  arms  around  the  one  who,  with  his 
foot  resting  in  the  crotch  of  a tree,  stands  in  the  side  border.  Beneath 
the  standing  cherub,  in  each  lateral  border,  are  two  pelicans  whose 
feet  rest  upon  a green  urn,  the  stem  of  which  is  adorned  with  three 
infant  heads.  Still  lower,  an  amphora  stands  upon  a pedestal,  which 
is  supported  upon  a green  column,  like  old  bronze.  In  front  of  this 
column  a cherub  is  posed  upon  a pedestal.  In  the  bottom  border  are 
two  heraldic  eagles,  one  on  either  side  of  a central  decoration  en* 
twined  with  leaves. 

Ffoulke  Collection,  1904. 


230 


# 


« 


THE  ARMS  OF  COLBERT 
Height,  9 ft.,  5 in.  Width,  6 ft.,  8 in. 

Cartoons  hy  Charles  Le  Brun. 

THESE  two  portieres,  which  are  alike  in  design,  coloring  and 
size,  were  woven  at  the  Royal  Gobelins  during  the  reign  of 
Louis  XIV  for  Jean  Baptiste  Colbert,  the  famous  Finance  Minister 
who  was  the  prime  mover  in  the  creation  of  the  present  Gobelins 
(1662),  and  styled  by  Voltaire  “the  founder  of  commerce  and  pros 
tector  of  all  arts.” 

These  tapestries,  which  are  identical,  illustrate  the  armorial  bear? 
ings  of  the  minister.  In  the  center  a serpent  is  drawn  upon  an  oval 
cartouche  which  rests  upon  a shield.  Above  the  shield  the  crown 
of Colbert  is  supported  hy  winged  cherubs,  and  from  the  lower  part 
of  it,  on  the  right  and  left,  spring  cornucopias  of  fruits  and  flowers. 
A full  length  female  figure  stands  on  each  side  of  the  cartouche ; one 
with  the  right  hand,  and  the  other  with  the  left,  gracefully  lift  the 
folds  of  a yellow  curtain  high  above  their  heads.  The  winged  figure 
represents  France  with  her  emblem,  a Gallic  cock;  the  other.  Power 
with  a sword  to  enforce  her  decrees,  and  a lioness  at  her  feet  to  dis; 
cern  her  enemies.  Blue,  red  and  yellow  are  combined  with  much 
effect  and  brilliancy  in  the  costumes  of  the  female  figures. 

The  border  is  of  a conventional  design  and  consists  of  alternate 
hunches  of  oak  and  laurel  leaves  tied  together  with  knots  of  ribbon. 
The  curtain,  which  forms  the  background  of  the  tapestry,  is  suss 
pended  from  the  inner  moulding  or  edge  of  the  border;  and  a vase 
springs  from  the  center  of  the  moulding  of  the  bottom  border. 
Ffoulke  Collection,  1904. 


A FRAGMENT  OF 

THE  ENTRY  OF  ALEXANDER  INTO  BABYLON 
Height,  12  ft.,  5 in.  Width,  3 ft.,  5 in. 

Cartoon  hy  Charles  Le  Brun. 

THIS  piece,  without  border,  represents  two  warriors  seated  upon 
their  horses ; between  their  helmets  appears  the  figure  of  a char* 
ioteer  in  a car,  holding  the  reins  of  horses  hidden  from  sight.  Behind 
him  are  seen  the  heads  of  warriors,  and  in  the  distance,  tents.  The 
trunk  of  a huge  tree  rises  on  the  left. 

Charles  Le  Brun,  the  great  purveyor  of  cartoons  for  the  Royal 
Gobelins  establishment,  painted  four  pictures,  illustrating  scenes  in 
the  war  between  Alexander  the  Great  and  Darius,  King  of  Persia. 
Engravings  of  these  paintings  are  in  the  National  Library  in  Paris. 

By  order  of  Louis  XIV  the  four  paintings  were  interpreted  into 
warp  and  woof  at  the  Gobelins,  and  all  bore  the  arms  of  France. 

This  panel  is  a fragment  of  the  most  sumptuous  tapestry  in  the 
series,  for  it  illustrates  a grand  and  impressive  pageant,  surpassing 
in  splendor  even  those  accorded  later  to  Rome’s  successful  generals. 

From  this  panel  one  can  form  some  idea  of  the  grandeur  of  the 
entire  composition,  which  represented  the  army  in  gala  attire; 
horses  richly  caparisoned;  highly  polished  armor  reflecting  the 
light;  chariots  containing  booty;  and  flies  of  foot  soldiers ; all  led  by 
the  youthful  Grecian  hero. 

This  beautiful  fragment  is  a work  of  art  to  he  highly  treasured 
on  account  of  its  historical  associations,  as  well  as  for  its  rich  colors 
ing,  masterly  drawing  and  skillful  execution. 

Ffoulke  Collection,  1904. 

Now  in  the  possession  of  Cornelius  K.  G.  Billings,  Esq. 


236 


* 


THE  SLEEPING  ENDYMION 

Height,  5 ft.,  7 in.  Width,  4 ft.,  3 in. 

THIS  charming  panel  is  a fragment  from  a tapestry  entitled, 
l,<‘  Diana  and  Endymion,”  which  was  woven  during  the  latter 
part  of  the  XVII  century  at  the  Gobelins,  then  under  the  direction 
of  Jans  the  second. 

Endymion  lies  asleep  upon  the  hank  of  a stream,  his  partly  nude 
and  graceful  figure  in  an  attitude  of  perfect  repose. 

A huntress  of  Diana,  accompanied  by  three  dogs,  one  of  which 
she  holds  in  leash,  is  standing  near,  gazing  intently  at  him. 

Both  figures  are  extremely  well  drawn,  and  the  colors  are  in  an 
unusually  good  state  of  preservation. 

In  the  tapestry  of  which  this  once  formed  a part,  Diana  sits  upon 
the  opposite  hank  of  the  stream,  surrounded  by  four  of  her  maidens 
who  are  engaged  in  completing  her  toilet  while  she  gazes  with 
admiration  and  delight  at  the  beautiful  and  all  unconscious  Em 
dymion.  Above  flies  the  little  god  Cupid  with  how  and  arrow,  mak* 
ing  ready  for  the  fatal  shot.  The  greens  in  the  landscape  background 
make  an  admirable  foil  for  the  delicate  flesh  tints  of  the  actors  in  this 
sylvan  scene. 

The  tapestry  is  surrounded  by  a framedike  border  of  conventions 
alized  leaves. 

Ffoulke  Collection,  1905. 


241 


THE  MONTHS  OF  LUCAS 


i 

MAY  DAY  SPORTS-MAY 
Height,  io  ft.,  3 in.  Width,  15  ft.,  3 in. 

Signed  AUDRAN 

II 

SHEEP  SHEARING  SCENE-JUNE 
Height,  10  ft.,  3 in.  Width,  13  ft.,  8 in. 

Signed  AUDRAN 

III 

LUNCH  AND  VINTAGE  SCENE-OCTOBER 
Height,  10  ft.,  1 in.  Width,  10  ft.,  7 in. 

Signed  AUDRAN  (restored) 

The  royal  set  of  tapestries  of  the  “Months  of  Lucas,”  made  in 
Flanders  about  the  middle  of  the  XVI  century,  after  models  ascribed 
to  Lucas  von  Leyden,  created  such  a furore  and  made  such  a lasting 
impression  upon  the  cultured  world  that  they  were  reproduced 
several  times  in  the  Gobelins  manufactory  between  the  end  of  the 
XVII  and  the  beginning  of  the  XTVIII  century. 

The  Flemish  series  which  served  as  models  were  burned  under 
the  “Reign  of  Terror”  to  obtain  the  gold  and  silver  that  had  been 
used  in  them.  There  were  many  different  heads  of  the  weaving 
department  during  the  time  these  subjects  were  reproduced,  and 
those  executed  under  each  master  possess  the  distinguishing  char; 
acteristics  of  his  epoch.  The  reproduced  sets  often  varied  in  number 
and  dimensions,  and  were  always  surrounded  by  entirely  different 
borders. 

These  three  tapestries  were  woven  at  the  Gobelins  under  Audran 
during  the  reign  of  Louis  XV.  They  illustrate  the  out;of; door  life 
and  amusements  of  nobles  and  peasants,  and  their  costumes  are  of 
the  era  of  Francis  I. 


242 


Of  the  first  piece,  “May,”  an  illustration  and  full  description  are 
given. 

The  “Sheep  Shearing  Scene— June,”  represents  a farm  where 
the  people  in  the  foreground  are  busily  engaged  with  the  sheep.  A 
man  and  woman  on  the  right  are  bringing  food  and  drink  to  the 
shearers,  and  a shepherd  carries  a sheep  in  his  arms  as  he  walks 
towards  three  women.  The  one  nearest  to  him  holds  up  her  shears; 
another  is  occupied  with  a standing  sheep,  while  the  third  has  one 
upon  her  lap ; at  her  feet  is  a basket,  and  two  sheep  are  on  her  left. 
Two  children  are  at  play  upon  the  ground.  On  the  path  behind,  at 
the  extreme  left,  a couple  are  passing,  the  man  holding  a dog  in 
leash.  Groups  of  people  occupy  the  center  field. 

A tapestry  signed  by  Audran,  and  like  this  one  in  character, 
drawing  and  general  effect,  hut  with  a different  border,  which  hears 
the  arms  of  the  Count  of  Toulouse,  is  in  the  French  National  Cob 
lection,  and  is  considered  one  of  its  greatest  treasures  in  textile  art. 

In  the  far  background  of  the  “Lunch  and  Vintage  Scene — Octo? 
her,”  rises  a rugged  mountain;  the  field  between  it  and  the  middle 
plane  is  filled  with  trees  and  grape  arbors.  In  the  right  center  field 
peasants  are  busy  making  wine.  In  the  left  foreground  a finedook? 
ing  man  and  woman  sit  at  the  foot  of  an  arbor  covered  by  a grapes 
vine ; behind  them  stands  an  old  woman  in  red.  With  her  left  hand 
she  offers  to  the  couple  a plate  of  fruit.  In  the  center  foreground,  a 
cavalier  is  paying  his  attentions  to  a young  maid  who  holds  a basket 
of  fruit.  Two  children  are  playing  with  grapes. 

In  Maurice  Fenaille’s  work  on  tapestries  he  gives  an  illustras 
tion  of  a tapestry  in  the  Dresden  Royal  Palace  which  is  like  the  one 
here  described  with  the  exception  of  the  border,  which  is  entirely 
different. 

Part  of  the  sky  and  a portion  of  the  foreground  of  this  tapestry 
have  been  restored.  The  original  signature  of  Audran  is  inserted 
in  the  renewed  turf. 

Ffoulke  Collection. 


243 


I 

MAY  DAY  SPORTS-MAY 
Height,  io  ft.,  3 in.  Width,  15  ft.,  3 in. 

Signed  AUDRAN 

THIS  tapestry  pictures  a most  vivacious  scene.  An  archery  tours 
nament  is  in  progress,  and  the  contestants  are  aiming  at  a hush 
placed  upon  a high  pole.  In  the  foreground  are  a number  of  people 
seated  upon  the  ground  and  watching  the  game.  Upon  the  extreme 
right,  seated  upon  their  horses,  the  seigneur  of  the  country  and  his 
wife  gaze  upon  the  scene.  He  wears  a blue  tunic  and  a violetshlue 
hat  lined  with  red,  and  is  mounted  upon  a white  Arabian  horse,  while 
she  is  superbly  dressed  in  red  damask  and  rides  a Spanish  jennet, 
whose  trappings  are  most  elaborate.  Behind  them  is  an  attractive 
couple  mounted  upon  a patient  horse.  In  front  of  them  a man  and  a 
woman  are  engaged  in  an  absorbing  conversation.  The  man’s  left 
arm  rests  upon  a large  drum.  A small  hoy  with  arrows  in  both 
hands,  and  followed  by  a dog,  runs  towards  them.  In  the  left  fore* 
ground  sits  a group  of  three ; the  man,  who  wears  a heliotrope  cos* 
tume  and  red  cap,  has  turned  his  head  away  from  the  main  scene; 
the  woman,  clad  in  a blue  robe,  exhibits  marked  surprise ; and  the 
child,  half  startled,  half  interested,  seeks  protection  in  her  arms. 
The  pale  yellow  and  green  landscape  forms  an  excellent  hacks 
ground  for  the  brilliant  colors  of  the  main  composition. 

The  border  imitates  a carved  and  gilded  frame,  and  shows  a des 
sign  that  was  used  only  during  the  reign  of  Louis  XV.  The  borders 
of  the  other  two  pieces  are  composed  of  ornamental  cartouches  and 
conventionalized  leaves,  apparently  turned  around  a baton,  in  the 
usual  style  of  the  Gobelins  borders  of  that  epoch. 

Ffoulke  Collection. 


244 


THE  RECRUITING  OFFICER 
Height,  9 ft.,  2 in.  Width,  6 ft.,  6 in. 

Cartoon  hy  Etienne  Jeaurat. 

Woven  under  Michel  Audran. 

THIS  tapestry  was  woven  at  the  Gobelins  about  the  year  1750. 

The  scene  is  laid  in  front  of  a country  tavern  hearing  the  sign 
of  a flask  and  the  motto,  “A  La  Bouteille.” 

The  recruiting  officer,  in  his  military  coat  of  blue,  turned  hack 
with  red,  is  the  central  figure.  He  is  touching  glasses  with  one  of  the 
three  persons  seated  before  him  at  a rustic  table  formed  of  hoards 
and  barrels. 

The  colors  of  the  uniform  appear  again,  in  softened  shades,  in  the 
dress  of  a mendicant  standing  at  the  extreme  right.  A woman  pres 
paring  vegetables  is  seated  at  the  left.  In  the  shadow  of  the  door? 
way  a maid  is  cutting  bread  for  a waiting  pilgrim.  From  an  open 
window  a young  girl  looks  down  with  interest  upon  the  scene. 

The  coloring  of  the  tapestry  is  particularly  characteristic  of  the 
Gobelins  at  this  period  in  its  flesh  tints  and  rich  and  mellow  tone. 

It  would  he  impossible  to  combine  in  one  composition,  in  a more 
interesting  and  artistic  manner,  the  giving  of  bread  in  one  scene ; 
the  unnoticed  appeal  for  alms  in  another;  attention  to  household 
duties,  and  reflective  listening  in  a third ; curious,  and  one  may  say 
inquiring  attention  in  a fourth;  all  aiding  in  the  development  of  a 
welblaid  plan  and  in  its  effects  in  the  main  scene.  The  manner  of 
treating  the  composition,  and  the  clever  portrayal  of  the  varied  exs 
pressions  of  the  faces  are  very  characteristic  of  Jeaurat. 

The  border  carries  out  harmoniously  the  color  scheme  of  the  taps 
estry,  and  is  composed  of  ornamental  cartouches  and  conventions 
alized  leaves  that  imitate  carved  and  gilded  wood.  Delicately  tinted 
leaves  and  flowers  encircling  a baton  are  included  in  the  border, 
following  a design  in  great  favor  at  the  Gobelins  manufacture. 
Ffoulke  Collection,  1904. 


TRIUMPHAL  MARCH  OF  CHARLES  V 
Height,  12  ft.,  6 in.  Width,  22  ft.,  3 in. 

THIS  tapestry  was  woven  in  the  first  quarter  of  the  XVIII  cen* 
tury  at  Malgrange,  near  Nancy,  by  weavers  from  the  Gobelins. 
It  is  a historical  fact  that  men  from  this  establishment  were  permits 
ted  by  the  French  Government,  at  the  request  of  Duke  Leopold  of 
Lorraine,  to  accept  service  with  Charles  Mittee  of  Malgrange,  for 
the  purpose  of  weaving  a series  of  tapestries  to  illustrate  and  per* 
petuate  some  of  the  principal  events  in  the  life  of  the  Duke’s  great 
ancestor,  Charles  V of  Germany  and  Spain. 

The  scene  represents  a procession  in  which  Charles  V is  naturally 
the  dominant  figure.  He  sits  enthroned  upon  a dais  which  rests 
upon  a gilded  car  drawn  by  four  horses,  harnessed  abreast,  and  led 
by  two  servitors.  Four  female  figures,  representing  the  four  quar= 
ters  of  the  globe,  are  seated  upon  the  lower  step  of  the  dais.  In  the 
allegorical  group,  Europe  holds  a crown  and  a miniature  chapel;  three 
other  crowns  and  two  sceptres  lie  beside  her  upon  the  rich  carpet 
covering  the  platform  of  the  car.  Asia  holds  a basket  of  flowers  in 
her  lap  and  swings  an  incense  burner.  America,  a dark  Indian  girl 
crowned  with  feathers,  carries  a bow  in  her  uplifted  hand.  Africa, 
represented  as  a negress  with  her  head  decorated  with  the  trunk 
and  tusks  of  an  elephant,  is  in  deep  shadow  in  the  background . 

The  goddess  of  Fame,  with  wings  extended,  rides  the  cloud  be? 
hind  the  Emperor  and  holds  a wreath  of  laurel  above  his  head.  He 
is  escorted  by  a large  and  magnificent  cavalcade  whose  white  horse? 
are  richly  caparisoned.  From  the  bend  of  a distant  hill  his  courtiers 
ride  forward  and  sweep  majestically  across  the  entire  front  of  the 
tapestry,  passing  around  a fountain  on  the  right.  With  fluttering 
flags  and  sounding  trumpets,  they  cross  in  front  of  the  terrace  of 
the  palace  where  the  Empress  stands,  surrounded  by  her  court,  and 
disappear  behind  the  left  wing  of  the  palace. 

The  wools  and  silks  with  which  this  tapestry  was  woven  were 
dyed  under  the  direction  of  Van  den  Kerchove,  possibly  the  most 
successful  superintendent  who  was  ever  employed  in  the  dyeing 
department  of  the  Gobelins.  His  clear  blue  is  seen  in  the  robe  of 
Europe  and  in  the  costume  of  the  attendant  holding  the  farther 
horse  of  the  car;  his  brilliant  green,  in  the  flowing  mantle  of  the 


250 


near  attendant ; and  his  deep  rich  red  in  the  costume  of  Charles  V, 
and  in  the  plumes  and  mantles  of  his  escort.  The  white  horses  are 
wonderfully  shaded,  and,  in  the  distance,  melt  away  in  the  grey  of 
the  palace  on  the  right,  and  into  the  neutral  green  of  the  distant  hills 
on  the  left.  In  the  joyous  life,  action,  and  brilliant  color  of  this  piece 
the  artist  has  struck  the  keynote  of  triumph  with  no  uncertain  hand. 
Cartoonist  and  weaver  have  produced  a chef  d’oeuvre  of  textile 
painting  which  is  probably  unrivalled  in  America. 

The  border  is  woven  to  represent  a picture  frame.  In  the  four 
corners  are  scroll  effects  around  a shell,  all  differing  slightly  in  de- 
sign.  In  the  lower  right-hand  corner  is  plainly  seen  a “G”  which  may 
be  intended  to  stand  for  “Gobelins.”  The  heraldic  designs  in  the 
top,  bottom  and  side  borders  bear  the  crowns  of  a duke,  a marquis, 
a count,  and  a baron.  The  color  is  a deep  yellow  which  shades  into 
orange. 

Ffoulke  Collection,  1891. 


JACOB  AND  LABAN 
Height,  9 ft.,  6 in.  Width,  9 ft.,  10  in. 

THIS  tapestry,  woven  in  France  during  the  reign  of  Louis  XIV, 
exhibits  so  many  characteristics  of  the  Gobelins  manufactory 
that  presumably  it  was  either  woven  there,  or  executed  by  weavers 
of  that  noted  atelier,  sent  to  fulfill  some  special  order  in  the  provinces. 
The  cartoon  is  of  an  earlier  period,  and  its  drawing  reminds  one  so 
strongly  of  Raphael’s  style  and  manner,  that  while  one  would  hesk 
tate  to  attribute  it  to  that  great  master,  it  is  undoubtedly  of  his 
school  and  from  the  brush  of  a not  unworthy  pupil. 

Jacob,  having  asked  permission  of  Laban  to  return  to  his  own 
country,  is  on  the  eve  of  departure.  He  stands  in  front  of  Laban 
with  right  arm  raised  and  points  to  the  unseen  flocks  with  which 
he  has  enriched  Laban  by  his  twenty^one  years  of  service.  He 
wears  a light  blue  velvet  tunic  with  gold  embroidery,  and  a rich  red 
mantle  decorated  with  designs  in  yellow  and  lined  with  the  latter 
color.  On  the  left  is  Laban,  his  pose  showing  plainly  his  regret  at 
his  sondndaw’s  departure.  He  is  clothed  in  a rose  tunic  and  yellow 
mantle  of  V enetian  Renaissance  velvet  with  designs  in  red.  Behind 
him  his  wife  is  in  the  act  of  saying  farewell  to  their  daughter, 
Rachel.  The  mother  wears  a yellow  robe  and  a long  violet  scarf  falls 
from  her  head  over  her  shoulders.  Rachel  has  a robe  of  oranges 
yellow  and  a green  mantle  which  falls  from  her  left  shoulder  to  her 
feet,  showing  the  lining  of  yellow  with  designs  in  red  and  violet.  In 
the  right  foreground  a servitor  in  a blue  costume,  with  legs  and 
arms  hare,  is  loading  a camel,  of  which  only  the  head  and  forelegs 
are  visible. 

The  flesh  tints  are  admirable  and  they,  together  with  the  colors 
in  the  costumes,  have  preserved  their  original  tones  with  extraors 
dinary  endurance.  The  soft  and  delicate  blues,  greens  and  yellows 
in  the  landscape  background  accentuate  in  a remarkable  manner  the 
magnificent  coloring  of  the  costumes. 

In  the  attractive  border  surrounding  the  tapestry,  vases  and  fes* 
toons  of  flowers,  parrots,  and  other  birds,  are  gracefully  mingled 
with  an  arabesque  design  enclosed  in  a narrow  moulding. 

Ffoulke  Collection,  1904. 

Now  in  the  possession  of  Cornelius  K.  G.  Billings,  Esq. 


; :.,;  -f  - ' 'vi* ’• ; ;_'  ." .'_' . .... 


TWO  MYTHOLOGICAL  SUBJECTS 

i 

SEARCHING  FOR  HIDDEN  TREASURES 
Height,  i o ft.,  6 in.  Width,  9 ft.,  3 in. 

II 

APOLLO  AND  THE  MUSES 
Height,  10  ft.,  o in.  Width,  9 ft.,  3 in. 

THESE  tapestries  are  of  French  weave,  and  the  presence  of  gold 
and  silver  threads  in  some  of  the  costumes  shows  them  to  he  of 
an  earlier  period  than  the  framedike  borders  which  surround  them. 

The  illustration,  which  is  that  of  the  first  tapestry,  shows  a 
prophetess  in  the  presence  of  a queen,  superintending  the  search  for 
some  hidden  treasure  at  a spot  where  large  trees  have  grown  up 
amid  the  ruins  of  a temple.  The  queen  is  seated  upon  a mossy 
hank;  she  wears  a crown  and  a goldendiued  robe,  carries  a sceptre 
in  her  left  hand  and  points  with  her  right  forefinger  to  a written 
scroll.  A maid  of  honor  kneels  behind  her.  Another  maid  of  honor 
stands  at  the  queen’s  right.  She  holds  a divining  instrument  in  her 
left  hand  and  points  upward  with  her  right.  The  principal  persons 
age  is  the  prophetess  who  directs  the  man  lifting  a block  of  marble. 
She  wears  a blue  robe  under  a rose^colored  mantle  which  sweeps 
the  ground,  and  leans  upon  a page  who  with  his  left  hand  raises  the 
folds  of  her  dress. 

The  second  piece  pictures  five  of  the  Muses  listening  to  a lyrical 
solo  by  Apollo  who  sits  upon  a grassy  knoll  in  front  of  a temple 
dedicated  to  himself.  He  wears  a chaplet  of  ivy  leaves  and  a loosely 
folded  dark  blue  mantle.  The  Muses  are  grouped  on  the  same  knoll, 
lower  down,  by  the  side  of  a tiny  waterfall.  In  the  foreground  are 
large  trees  and  birds  flying  against  the  blue  sky;  in  the  distance  is  a 
stream  of  water,  and  beyond,  undulating  hills. 

Both  tapestries  are  from  the  same  atelier,  and  probably  are  the 
work  of  the  same  hand.  The  dark  foliage  of  the  trees,  contrasting 
admirably  with  the  rich  colors  in  the  costumes  of  the  small  and 
decorative  figures,  makes  these  two  pieces  very  attractive  and 
pleasing. 

The  borders  are  alike  and  very  narrow.  They  imitate  the  con* 
ventional  frame  of  gilded  carved  wood. 

Ffoulke  Collection. 

259 


THE  TOILET  OF  VENUS 
Height,  9 ft.,  6 in.  Width,  7 ft.,  9 in. 

THIS  tapestry  was  woven  at  the  Beauvais  ateliers  during  the 
reign  of  Louis  XV  and  is  from  a cartoon  of  the  Boucher  school. 
Venus,  in  her  car,  attended  hy  the  gods.  Hymen  and  Cupid,  and 
her  emblematic  turtle-doves,  has  just  descended  in  a hank  of  clouds. 
Having  alighted  upon  a grassy  mound,  adorned  with  flowers,  over 
which  she  has  thrown  her  rich  red  mantle,  she  steps  into  a stream 
of  water,  which,  laden  and  scented  with  flowers,  flows  from  the  urn 
of  a river  nymph.  A little  Cupid  presents  her  with  the  golden  apple. 

The  cloud  which  brought  V enus  to  the  earth  floats  away  in  the 
distance,  and  melts  into  the  soft  green  of  the  landscape  background. 

The  tones  of  this  tapestry  are  very  soft  and  delicate,  the  mantle 
and  roses  giving  the  only  pronounced  hits  of  color.  It  is  a veritable 
work  of  art  in  composition,  drawing,  coloring  and  execution. 

A similar  tapestry,  hut  with  a different  subject,  exists  in  the  Garde- 
Meuble  of  Paris. 

The  tapestry  is  surrounded  by  a frame-like  border  of  convention- 
alized foliage  and  other  characteristic  designs. 

Ffoulke  Collection. 


THE  GYPSIES 

Height,  9 ft.,  7 in.  Width,  8 ft.,  8 in. 


THIS  XVIII  century  French  tapestry  was  probably  woven  dur- 
ing  the  minority  of  Louis  XV  under  the  regency  of  the  Duke 
of  Orleans.  The  character  of  the  composition,  fineness  of  the  point, 
atmospheric  clearness,  rendering  of  the  landscape,  and  the  figures 
and  faces  of  the  personages,  lead  to  the  conclusion  that  it  was  woven 
by  Beauvais  weavers  during  the  hours  they  were  free  to  work  for 
their  own  benefit. 

The  scene  is  laid  in  a deep  gorge.  On  the  left  is  a rocky  hill  with 
precipitous  sides  and  crowned  by  a couple  of  trees ; on  the  right  is  a 
mountain  surmounted  by  the  ruins  of  a castle  in  front  of  which  are 
herders  and  their  sheep.  Down  the  side  of  the  mountain  tumbles  a 
waterfall  which  ends  in  a brook  below.  The  gorge  opens  on  the 
charming  vista  of  fertile  plains  and  distant  mountains,  whose  peaks 
are  lost  in  clouds.  The  eight  figures  in  the  foreground  are  all  small 
and  well  drawn.  A fortune-teller  on  the  right  reads  the  palm  of  a 
forester.  A barefooted  hoy  holding  a bird  stands  at  his  left.  In  the 
center  walks  a woman  with  a basket  on  her  arm  and  a long  stick  in 
her  hand.  Of  the  three  women  on  the  left,  one  is  partially  hidden 
by  a mother  who  holds  an  infant  upon  her  lap  and  a tall  gypsy  who 
stands  eating  an  apple  before  a tranquil  donkey. 

All  the  women  wear  head-coverings,  and  the  reds,  blues  and 
yellows  of  their  garments  fight  up  pleasantly  the  green  tone  of  the 
tapestry. 

The  border  is  composed  of  conventionalized  foliage  upon  a lus- 
trous blue  ground.  It  is  rococo  in  style  and  character,  with  its 
corners  imitating  shells,  and  is  an  exceedingly  appropriate  frame  for 
the  picturesque  and  interesting  gypsy  scene. 

Ffoulke  Collection,  1904. 


265 


RINALDO  IN  THE  GARDEN  OF  ARMIDA 
Height,  9 ft.,  3 in.  'Width,  io  ft.,  2 in. 

Cartoon  by  Louis  de  Bologne  and  Collaborators. 

Mark#  Signed  ACC.  BEAUVAIS 

THE  subject  of  this  tapestry  is  taken  from  Tasso’s  “Jerusalem 
DeUvered.”  It  was  woven  in  the  Royal  Beauvais  establish* 
ment  under  Cbarron  about  the  middle  of  the  XVIII  century. 

In  the  background  a series  of  marble  arches  encircle  the  garden, 
and  beneath  one  of  them  stand  Carlo  and  Ubaldo,  who  have  come 
in  quest  of  Rinaldo.  Carlo  carries  the  wand  which  protects  them 
from  the  wiles  of  the  sirens  playing  in  the  pool  of  water  nearby; 
and  Ubaldo  holds  the  shield  of  Rinaldo  upon  which  was  graven  the 
great  deeds  of  his  ancestors  and  himself. 

In  the  foreground,  Rinaldo,  with  a garland  of  flowers  around  his 
waist,  reclines  in  the  lap  of  Armida,  and  holds  before  her  a mirror. 
Several  winged  cherubs  sport  with  his  armor,  and  one  holds  aloft 
his  spear,  to  which  Cupid’s  quiver  is  attached;  the  latter  stands  in 
front  of  the  lovers  with  empty  bow;  above  them  hovers  the  little 
god  Hymen,  holding  in  his  left  hand  a torch,  and  in  his  right  a bunch 
of  flowers. 

The  Paladin  wears  a red  tunic  beneath  pliant  and  scaled  body 
armor,  and  over  this  a rich  brown  mantle.  Armida  wears  a white 
robe,  blue  mantle  and  ivory*tinted  veil. 

The  rich  costumes,  and  the  gay  plumage  of  the  peacock  perched 
upon  a tree  at  the  right,  stand  out  in  pleasant  relief  upon  a ground 
of  soft  green  foliage. 

The  artists  have  given  their  talents  full  play  in  this  composition. 
Nature  appears  in  one  of  her  most  charming  moods,  the  architec* 
tural  background  is  effective  and  impressive,  and  the  beautiful  fig* 
ures  full  of  life  and  movement. 

The  narrow  border  contains  a design  of  conventionalized  leaves 
imitating  the  carved  and  gilded  wood  of  a picture  frame.  This  style 
began  to  supersede  the  ancient  decorative  borders  about  1736. 
Ffoulke  Collection,  1904. 


266 


TWO  BERAIN  PANELS 

Height,  2 ft.,  9 in.  Width,  3 ft.,  4 in. 

THE  great  popularity  of  illustrating  children  as  gardeners  ex= 
tended  through  a period  of  three  hundred  years.  The  idea 
seems  to  have  originated  with  Jules  Romain  in  the  XVI  century; 
was  extensively  carried  out  by  Charles  Le  Brun  in  the  XVII ; and 
finally  adopted  in  the  XVIII  century  by  Jean  Berain,  with  whom 
the  idea  of  introducing  children  as  actors  as  well  as  gardeners  in 
small  panels  apparently  originated. 

These  panels,  designed  by  Berain,  were  woven  at  Beauvais  dur* 
ing  the  reign  of  Louis  XV.  The  illustration  shows  the  half  kneeling 
figure  of  a chubby,  bright^eyed  hoy,  in  the  act  of  cutting  a branch  of 
flowers  and  leaves  with  a pair  of  shears  which  he  holds  with  both 
hands.  His  arms  and  feet  are  bare.  His  curling  hair  is  partly  hidden 
by  a cap.  His  short  trousers  are  red,  and  over  a white  shirt  he  wears 
a red  striped  jacket.  His  feet  rest  upon  a baton,  on  the  right  and  left 
of  which  are  scrolls  of  conventionalized  leaves.  From  a design 
above  his  head  are  suspended,  in  front  of  and  behind  him,  festoons  of 
flowers  and  leaves  which  are  caught  up  by  delicate  scroll  designs. 
The  whole  is  enclosed  by  four  corners  of  a frame  design,  which  are 
connected  at  the  bottom  only,  and  by  a frameslike  strip  of  convene 
tionalized  leaf  stalks  which  practically  constitutes  the  border. 

The  companion  piece  pictures  a similar  hoy  in  the  costume  of  an 
actor.  His  face  is  in  profile,  and  he  holds  a mask  before  it  with  his 
right  hand,  while  his  left  rests  upon  a scroll  of  leaves.  The  charac* 
ter  of  the  design  is  the  same  as  that  in  the  illustrated  panel. 

The  children  in  their  red  costumes  and  the  accessories  of  flowers 
and  leaves  stand  out  in  beautiful  relief  upon  the  exquisite  yellow 
background.  Both  pieces  are  charming  examples  of  Berain's  best 
work,  and  of  the  Beauvais  ateliers. 

Ffoulke  Collection. 


ACHILLES  MORTALLY  WOUNDED  BY  PARIS 

Cartoon  by  Houasse 
Height,  io  ft.,  9 in.  Width,  24  ft.,  6 in. 

THIS  tapestry  was  woven  after  a model  by  Houasse,  between 
1730  and  1740  in  the  Royal  Beauvais  ateliers,  France,  for  Car* 
dinal  de  Rohan.  Unfortunately  the  border  of  this  piece  was  cut  off 
about  thirty  years  ago,  but  enough  of  the  Cardinal’s  armorial  bear* 
ings  remain  to  show,  on  an  ermine  background,  part  of  his  coat* 
of  arms,  part  of  a sword,  and  part  of  a marechal’s  baton  crossed;  the 
red  tassels  of  a cardinal’s  hat ; and  the  star  and  dove  of  the  princely 
Order  of  the  Holy  Spirit. 

A little  to  the  left  of  the  center  of  the  tapestry  Achilles  stands  at 
the  altar,  upon  which  a fire  burns,  ready  to  solemnize  his  marriage 
with  Polyxena.  He  wears  a helmet  with  red*purple  plumes,  silvers 
colored  cuirass,  pale  yellow  tunic,  red  mantle  and  light  blue  breeches. 
He  is  accompanied  by  his  suite  and  escorted  by  a troop  of  his  Myr* 
midons.  Polyxena  arrayed  in  lustrous  white  satin,  rose  mantle  and 
pearl  ornaments,  stands  beside  him.  She  is  attended  by  two  maids 
of  honor  in  white  veils  and  yellow  robes,  and  by  two  young  girls, 
one  of  whom  holds  up  her  mantle.  In  the  rear  of  this  group  stand 
King  Priam,  Queen  Hecuba  and  their  suite.  The  King  wears  his 
crown,  has  a ruby  red  mantle,  and  with  one  hand  grasps  his  beard. 
Hecuba  has  a pale  yellow  mantle  with  designs  in  red.  On  the  ex? 
treme  right  the  glorious  figure  of  Apollo,  draped  in  a rose  mantle, 
floats  upon  a cloud.  His  head  is  illuminated  by  the  golden  effulgence 
of  his  emblem  as  god  of  the  sun.  He  carries  a bow,  and  a quiver  of 
arrows  rests  at  his  side  upon  the  cloud.  He  hovers  above  Paris  and 
directs  his  aim.  The  latter,  a swarthy  man,  wearing  a dark  red  pa* 
nache,  steel  helmet,  mantle  and  cuirass,  with  bent  figure,  leans  for* 
ward  and  shoots  from  his  bow  the  arrow  which  is  seen  in  Achilles’ 
heel.  Paris  is  partly  hidden  by  a large  fluted  column,  and  fully  con* 
cealed  by  the  arts  of  Apollo  from  the  troop  of  Myrmidons,  who  ap* 
pear  unaware  of  the  mortal  wound  given  to  their  chief.  Deiphobus, 
wearing  a pale  violet  mantle,  appears  to  support  the  falling  Achilles, 
but  he  grasps  the  hero’s  mantle,  sword  hilt  and  right  arm  in  order  to 
prevent  him  from  defending  himself.  Behind  these  two  stands  the 


272 


' 

, 


white*haired  and  white*bearded  Ulysses,  bis  eyes  expressing  tbe 
deepest  woe;  witb  one  band  be  grasps  bis  rose*colored  mantle,  and  tbe 
other  is  extended  in  despair.  Achilles’  son,  Pyrrhus,  is  on  bis  father’s 
right  and  wears  a pale  yellow  panache.  A kneeKng  man  at  tbe  bead 
of  tbe  Myrmidons  has  cast  down  bis  spear  and,  witb  face  bidden  be* 
bind  bis  bands  clasped  upon  bis  knee,  gives  way  to  bis  grief. 

Tbe  setting  of  this  tragedy  is  a large  palatial  ball  witb  fluted  violet* 
tinted  columns  draped  in  red.  Tbe  architectural  background  brings 
out  in  fine  rekef tbe  rich  costumes  of tbe  actors  in  tbe  scene.  Tbe  airy 
figure  of  Apollo  is  most  beautifully  and  skillfully  rendered,  while  all 
tbe  other  personages  are  well  drawn  and  their  characteristics  clever* 
ly  portrayed.  It  is  difficult  to  conceive  bow  such  a variety  of  motions 
could  be  so  successfully  interpreted  in  a single  tapestry,  or  bow 
such  a variety  of  colors  could  be  so  successfully  woven  therein. 

Baron  Jules  Francbetti,  1870. 

Ffoulke  Collection,  1904. 


275 


TWO  MYTHOLOGICAL  SCENES 

i 

VENUS  ATTENDED  BY  SEA  NYMPHS 
Height,  ii  ft.,  8 in.  Width,  8 ft.,  6 in. 

Mark  ]}l|f  J) 

II 

JUPITER  AND  JUNO  WITNESSING  THE  MARRIAGE  OF 

CUPID  AND  PSYCHE 

Height,  ii  ft.,  8 in.  Width,  8 ft.,  6 in. 

Mark  BWB 

THESE  tapestries  were  woven  in  France  during  the  latter  part  of 
the  reign  of  Louis  XIV.  Each  hears  a unique  and  original  mark 
woven  into  the  subject  of  the  tapestry.  The  fleursde^lis  proves  the 
French  origin,  hut  it  is  not  known  which  atelier  is  designated  by  the 
B’s.  The  threads  of  warp  and  woof  are  very  fine;  the  compositions 
well  managed,  with  good  perspective  results  and  pleasing  decorative 
effects. 

The  illustration,  which  is  that  of  the  first  tapestry,  represents 
Venus  standing  upon  a large  shell  which  rests  upon  the  water.  She 
wears  a pale  yellow  robe  and  a light  blue  scarf  floats  about  her.  One 
sea  nymph  gracefully  reclines  at  her  feet,  and  two  others  swim  be* 
side  the  shell,  accompanied  by  dolphins,  while  a swimming  man 
appears  to  pull  the  shell  towards  the  open  sea.  In  the  right  fores 
ground  a man  rides  a sea-horse.  Further  back  are  three  small  female 
figures,  one  of  which  sits  upon  a dolphin’s  back  and  plays  upon  a 
lyre.  A rocky  promontory  with  trees  growing  at  the  top  forms  the 
background,  where,  on  the  right  of  it,  sky  and  sea  meet  in  the  dis* 
tance  in  soft  tints  of  blue  and  silver. 

In  the  foreground  of  the  second  piece  Cupid  and  Psyche  stand 
with  hands  clasped  across  an  altar,  upon  which  burns  a fire  and  be* 
hind  which  is  Hymen  with  a lighted  torch.  Cupid  has  his  quiver 
upon  his  back  and  wears  a red  mantle,  while  Psyche  is  clad  in  pale 
blue  with  a mantle  of red  and  orange.  Juno,  attended  by  her  peacock, 

276 


is  seated  upon  a rock  watching  the  scene,  while  Jupiter,  with  his  at* 
tributes,  rides  upon  a cloud  in  the  background.  In  the  left  middle 
plane  Neptune,  in  his  chariot  drawn  by  two  horses,  and  attended  by 
a couple  of  servitors,  rides  toward  the  shore.  The  coloring  of  sky 
and  sea  shows  the  same  blue  with  silver  lights  as  the  companion 
piece. 

The  borders  of  both  tapestries  imitate  carved  frames. 

Ffoulke  Collection. 


PASTORAL  SCENES 


i 

SPORTSMAN  SHOOTING  BIRDS 
Height,  9 ft.,  o inches.  Width,  io  ft.,  o in. 

II 

THE  WATERING  TROUGH 
Height,  7 ft.,  9 in.  Width,  5 ft.,  4 in.  ^ 

III 

THE  HUNTSMEN 
Height,  9 ft.,  3 in.  Width,  5 ft.,  9 in. 

IV 

CHASING  THE  WILD  BOAR 
Height,  9 ft.,  3 in.  Width,  6 ft.,  6 in. 

V 

RESTING  BY  THE  BROOK 
Height,  9 ft.,  3 in.  Width,  3 ft.,  10  in. 

VI 

GARDEN  SCENE 
Height,  7 ft.,  9 in.  Width,  9 ft.,  10  in. 

These  tapestries  were  woven  in  the  royal  ateliers  at  Aubusson, 
France,  during  the  reign  of  Louis  XV,  the  period  when  the  ateliers 
were  under  royal  patronage  and  at  the  zenith  of  their  success.  They 
possess  all  those  decorative  qualities  for  which  the  tapestries  that 
were  woven  in  these  ateliers  have  always  been  celebrated. 

In  the  first  tapestry  a man  standing  near  a small  shooting  lodge  is 
taking  aim  with  his  gun  at  a bird  flying  in  the  air.  A pony,  with 
saddle  and  bridle,  is  near,  and  through  the  branches  of  the  trees  can 
be  seen  the  turret  of  a castle. 


280 


In  the  second,  two  women  stand  by  the  side  of  a large  stone 
trough,  into  which  water  flows  from  a pipe  several  feet  above  it. 
One  holds  in  her  left  hand  a pitcher ; behind  her  is  a cow  with  large 
horns  and  a shepherdess  with  a flock  of  sheep.  Tall  trees  with  lux= 
uriant  foliage  occupy  all  the  upper  portion  of  the  tapestry;  through 
their  branches  a distant  mountain  is  visible. 

Two  men  with  guns,  a woman  and  a child  occupy  the  foreground 
of  the  third  piece.  One  man,  who  leans  forward  with  hands  clasped 
together  and  gun  held  loosely  in  the  bend  of  his  arm,  appears  to  be 
asleep.  His  companion,  who  holds  his  gun  with  the  muzzle  downs 
ward,  stands  in  front  of  the  woman  who  is  seated  on  the  bank  of  a 
stream  with  her  child  leaning  upon  her  lap.  A dog  is  in  the  act  of 
drinking  from  the  stream.  Trees  with  trunks  reaching  to  the  top  of 
the  tapestry  surround  them. 

In  the  foreground  of  the  fifth  tapestry,  at  the  foot  of  a large  tree, 
are  two  people.  They  are  resting  on  the  bank  of  a stream,  and  one 
is  apparently  putting  on  a stocking.  In  the  background  are  impose 
ing  antique  buildings. 

The  fourth  and  sixth  tapestries  are  illustrated  and  more  fully  de* 
scribed. 

Ffoulke  Collection. 

I now  in  the  possession  of  J.  R.  Ffoulke,  Esq. 

II,  III  and  IV  now  in  the  possession  of  Cornelius  K.  G.  Billings, 

now  in  the  possession  of  Dr.  A.  Canfield. 

VI  now  in  the  possession  of  Ludwig  Dreyfuss,  Esq. 


281 


IV 

CHASING  THE  WILD  BOAR 
Height,  9 ft.  Width,  6 ft.,  6 in. 

THE  foreground  in  this  piece  is  occupied  by  two  men  on  horses 
hack,  a wild  hoar  and  a couple  of  dogs.  The  horse  on  the  right 
gallops  forward,  while  his  rider  attacks  the  boar  with  a weapon 
held  in  his  right  hand;  only  the  hacks  of  the  other  horse  and  man  are 
visible,  but  the  latter  also  attacks  the  boar  as  he  rides  past.  Both 
dogs  are  rushing  in  front  of  the  animal  and  barking.  Large  trees  are 
on  the  right,  and  in  the  background,  half  hidden  by  dense  foliage, 
stand  a church  and  farm  house.  The  men  wear  red  coats,  and  their 
costumes,  like  those  worn  by  the  personages  in  the  other  five  taps 
estries,  are  of  the  time  of  Louis  XV.  The  colors  of  the  costumes 
stand  out  in  pleasant  contrast  against  the  surrounding  green  of  the 
landscape,  and  add  much  to  the  decorative  effect  of  this  tapestry. 

The  border  is  the  same  in  design  and  color  as  those  which  surs 
round  the  other  tapestries  of  this  series. 

Now  in  the  possession  of  Cornelius  K.  G.  Billings,  Esq. 


282 


'jp**  r*r^  w ^ ^ ^ hf  .H 

ji. 


VI 

GARDEN  SCENE 

IN  the  foreground  of  this  piece  a man,  and  a woman  who  wears  a 
yellow  dress  over  a blue  skirt  with  a touch  of  red  at  the  bodice, 
are  seated  at  the  foot  of  a large  tree  on  the  hank  of  a stream.  A grace? 
ful  girl  bends  forward  just  behind  them.  In  the  left  center  plane  is  a 
picturesque  bridge  which  leads  to  a large  and  imposing  chateau  sur? 
rounded  by  trees.  On  the  right  are  ruins  of  an  old  castle.  Back  of 
the  large  tree,  whose  spreading  branches  occupy  much  space  in 
the  tapestry,  is  another  tree,  and  in  the  immediate  foreground  many 
plants  whose  leaves  are  all  distinctly  and  carefully  drawn. 

The  architectural  features  have  been  managed  with  much  skill; 
they  appear  to  mould  into  and  form,  as  they  should,  an  integral  part 
of  the  background  scene,  and  are  shaded  and  toned  into  entire  har? 
mony  with  the  landscape.  The  foliage  is  woven  in  deliciously  soft 
and  delicate  tones ; there  are  no  vivid  colors  or  violent  contrasts. 

The  border  of  this  tapestry  is  the  same  as  those  surrounding  the 
other  five  pieces.  It  resembles  a carved  frame  decorated  at  reg  lar 
intervals  with  bouquets  of  flowers  and  leaves.  The  border  designs 
varied  little  at  Aubusson  during  the  time  of  Louis  XV  and  their  style 
can  easily  he  recognized. 

Now  in  the  possession  of  Ludwig  Dreyfuss,  Esq. 


287 


FOUR  ROYAL  AUBUSSON  PANELS 


i 

A CHINESE  GARDEN 
Height,  7 ft.,  8 in.  Width,  4 ft.,  8 in. 

II 

FLOWERS  AND  LEAVES  WITH  PAGODA  AND  BRIDGE 
Height,  7 ft.,  8 in.  Width,  5 ft.,  9 in. 

Signed  AVBVSSON. 

III 

A ROPE  OF  LEAVES  AND  FLOWERS  AND  SMALL 

PAGODA 

Height,  7 ft.,  8 in.  Width,  5 ft.,  9 in. 

Signed  AVBVSSON 

IV 

LEAVES  WITH  LARGE  BIRD  AND  DISTANT  PAGODA 
Height,  7 ft.,  8 in.  Width,  4 ft.,  8 in. 

Signed  M.R.D.  AVBVSSON 

These  four  panels  were  woven  in  the  Royal  Aubusson  atelier 
during  the  reign  of  Louis  XIV  and  are  purely  decorative,  being 
without  figures,  and  of  the  kind  known  in  France  as  1 Verdures.” 
The  cartoons  were  drawn  by  an  artist  who,  with  French  skill,  has 
modified  Chinese  decorative  effects  to  suit  the  taste  of  his  country? 
men.  In  this  difficult  task,  so  often  tried  by  the  artists  of  his  day, 
he  has  succeeded  wonderfully  well  and  the  panels  are  most  effective 
and  pleasing. 

From  the  upper  left?hand  corner  of  the  first  tapestry  extends  the 
bough  of  a tree  thickly  covered  by  foliage;  on  the  rightdiand  side 
stands  a hush  of  luxuriant  growth,  in  the  center  of  which  a bird  of 
paradise  is  resting. 

The  illustrations  given  show  in  the  second  piece  a mass  of  leaves 
and  flowers,  rising,  like  a tree,  up  through  the  center  of  the  tapestry, 
with  a pagoda  crowning  a hill  on  the  right,  and  a bridge  spanning  a 
stream  on  the  left.  In  the  third  a treedike  mass  of  flowers  and  leaves 


288 


AVBVSSOM 


occupies  nearly  the  entire  space,  the  only  other  objects  being  a diss 
tant  hill  and  pagoda  on  the  right.  The  fourth  panel,  which  is  signed 
by  the  initials  of  the  weaver,  has  a stunted  tree  in  the  center,  and  a 
large  and  curious  bird  in  the  foreground.  On  the  left  a small  house 
stands  upon  a rock.  The  foliage  in  all  four  pieces  is  olivesgreen  with 
deep  yellow  lights,  interspersed  with  red  flowers.  The  background, 
mellowed  by  age,  is  almost  ecru  in  color. 

Although  green  is  the  predominating  color,  the  soft  yellow  high 
lights  and  the  ecru  background,  combine  in  giving  a most  delightful 
amber  tone  to  these  panels.  All  the  tapestries  are  surrounded  by 
framedike  borders  which  are  composed  of  conventionalized  tamcok 
ored  leaves,  with  red  flowers  between  them,  upon  a ground  of  delis 
cate  green. 

Ffoulke  Collection. 

IV  is  now  in  the  possession  of  James  R.  Sheffield,  Esq. 


291 


TWO  LOUIS  XV  PORTIERES 
Height,  9 ft.,  2 in.  Width,  5 ft.,  2 in. 

THESE  panels  were  woven  in  the  Royal  Aubusson  ateliers  dur; 

ing  the  reign  of  Louis  XV.  The  one  illustrated  represents  a gars 
den  scene.  In  the  foreground  are  two  female  figures.  The  one  on  the 
right  is  clad  in  a laced  bodice  and  a blue  petticoat  over  which  a pink 
skirt  is  looped.  She  carries  on  her  head  a basket  of  fruit  which  she 
holds  in  place  with  her  left  hand.  The  other  wears  a long,  loose, 
flowing  robe  of  a reddish  tint.  A broad  red  hand  confines  her  hair, 
and  elaborately  laced  sandals  are  upon  her  feet.  With  a waterings 
pot  held  with  both  hands  she  sprinkles  a broadslea fed  plant  which  is 
just  in  front  of  her.  Howering  plants  in  pots  are  on  her  right  and 
left.  In  the  background  green  trees  rise  above  a garden  enclosed  by  a 
lattice  fence ; broad  steps  lead  down  to  the  level  where  the  women 
stand.  Directly  behind  them  are  two  trees. 

The  companion  piece  also  contains  two  figures  in  the  foreground. 
On  the  right  a barefooted  maid,  clad  in  a rosestinted  robe  and  yellows 
brown  mantle,  carries  a basket  of  flowers  and  fruit  upon  her  head. 
She  is  gazing  at  a kneeling  satyr  wearing  a crown  of  leaves  and 
flowing  white  robe  who  is  plucking  grapes  from  a large  pendant 
hunch.  The  landscape  background  is  prettily  framed  by  two  trees, 
one  of  which  is  on  the  right,  and  the  other  on  the  left,  of  the  fores 
ground.  A grapevine,  from  which  hang  luscious  grapes,  twines 
around  the  trunk  and  branches  of  the  tree  on  the  left,  and  unites  at 
the  top  of  the  tapestry  the  branches  of  both  trees.  In  the  foreground, 
behind  the  girl,  is  an  immense  yellow  pumpkin,  and  just  above  it  a 
plant  with  big  blooming  roses. 

These  panels  were  woven  originally  to  he  used  as  portieres  and 
while  their  tone  of  color  is  rather  soft  and  delicate,  they  are  ex; 
tremely  decorative.  The  frameslike  borders  are  decorated  all  around 
at  regular  places  with  bouquets  of  flowers  and  leaves. 

Ffoulke  Collection. 

Now  in  the  possession  of  Arthur  Curtiss  James,  Esq. 


292 


A MARINE  AND  HARBOR  VIEW 

Height,  9 ft.,  6 in.  Width,  io  ft.,  3 in. 

THIS  tapestry  was  woven  without  a border  in  the  early  part  of 
the  XIX  century  in  the  Royal  Aubusson  ateliers  after  a model 
by  Vernet,  the  celebrated  marine  painter. 

It  contains  nine  figures  in  the  foreground,  and  several  more  in  the 
center  field.  Some  ships  are  entering  from  the  offing,  and  a large 
boat  is  taking  on  cargo  and  passengers  at  the  wharf.  A woman  and 
child  sit  in  the  stern  of  the  boat.  A man  rolls  a barrel  into  its  place. 
Another  gazes  over  the  side  of  the  boat.  Behind  the  man  holding 
the  boat  to  the  wharf  are  two  figures,  one  sitting  and  the  other 
standing  with  a long  pipe  in  his  hand.  On  the  steps  leading  down 
to  the  water  are  two  men  engaged  in  earnest  conversation.  In  front 
of  them  is  a large  dog. 

In  the  right  middle  plane  is  an  architectural  gateway,  which 
looks  more  like  the  entrance  to  a palace  than  to  a warehouse. 

There  are  few  marine  tapestries  in  existence,  and  this  one  is  un? 
usually  attractive.  The  perspective  features  are  excellent,  for  be= 
yond  the  harbor  one  can  follow  the  coast  line  to  the  lighthouse  and 
distant  sea.  The  picturesque  boats  and  ships  appear  to  be  actually 
moving,  and  the  vivacious  scene  in  the  foreground  is  cleverly  and 
truthfully  rendered.  The  green  of  the  foliage,  the  blue  of  the  water, 
and  the  red  in  the  costumes  of  the  figures,  combine  in  making  this 
tapestry  particularly  bright  and  decorative. 

Ffoulke  Collection. 

Now  in  the  possession  of  Arthur  Curtiss  James,  Esq. 


ITALIAN  TAPESTRIES 


THE  LIFE  OF  CHRIST  SERIES 

Cartoons  by  Jean  Francois  Romanelli 

I 

THE  ANNUNCIATION 
Height,  15  ft.,  8 in.  Width,  13  ft..  Sin. 

Signed  IAC.  D.L.  RIV. 

II 

ADORATION  OF  THE  SHEPHERDS 
Height,  15  ft.,  8 in.  Width,  13  ft.,  8 in. 

Signed  IAC.  D.L.  RIV. 

III 

ADORATION  OF  THE  MAGI 
Height,  15  ft.,  8 in.  Width,  13  ft.,  4 in. 

IV 

THE  FLIGHT  INTO  EGYPT,  WITH  THE  INSCRIPTION 
AEGYPTVS  SANCTIFICATA 

Height,  15  ft.,  8 in.  Width,  17  ft.,  o in. 

Signed  IAC.  D.L.  RIV. 

V 

THE  BAPTISM  OF  CHRIST 
Height,  15  ft.,  7 in.  Width,  13  ft.,  5 in. 

Dated  MDCLI.  Signed  IAC.  D.L.  RIV. 

VI 

THE  TRANSFIGURATION 
Height,  15  ft.,  6 in.  Width,  12  ft.,  1 in. 

Signed  IAC.  D.L.  RIV. 


301 


VII 

THE  LAST  SUPPER 
Height,  15  ft.,  8 in.  'Width,  17  ft.,  3 in. 

Signed  IAC.  D.L.  RIV. 

VIII 

THE  MOUNT  OF  OLIVES  (THE  PASSION) 
Height,  15  ft.,  8 in.  "Width,  13  ft.,  4 in. 

Signed  I.A.C.  D.  L.R.V. 

IX 

THE  CRUCIFIXION 
Height,  15  ft.,  6 in.  V/idth,  12  ft.,  10  in. 

Signed  I.A.C.  D.L.  R.I.V. 

X 

THE  RESURRECTION 
Height,  15  ft.,  8 in.  W’idth,  13  ft.,  8 in. 

XI 

GIVING  THE  KEYS  TO  ST.  PETER 
Height,  15  ft.,  8 in.  Width,  17  ft.,  2 in. 

XII 

MAP  OF  THE  HOLY  LAND 
Height,  15  ft.,  8 in.  WTlth,  19  ft.,  1 in. 

Dated  MDCLII  Signed  IAC.  DL.  RIV. 

Baldinucci  informs  us  that  Cardinal  Francois  Barberini  gave 
Romanelli  an  order  to  paint  cartoons  for  a series  of  tapestries  destined 
to  cover  the  walls  of  the  throne*room  in  the  Barberini  palace,  where 
the  ceiling  had  been  painted  by  Pietro  da  Cortona. 

The  subjects  selected  by  Romanelli,  and  approved  by  the  Cardb 
nal,  were  “Scenes  from  The  Life  of  Christ,”  and  Jacopo  della  Riviera 
was  charged  with  the  translation  of  these  cartoons  into  tapestries. 
All  the  pieces  except  the  third,  tenth  and  eleventh  are  signed  by  an 
abbreviation  of  his  name. 


302 


In  the  inventory  of  the  tapestries  owned  by  Cardinal  Carlo  Bar* 
berini  in  1695  this  series  is  mentioned  as  “Series  without  gold,  repre? 
senting  the  Life  of  Christ,  twelve  tapestries.” 

Mgr.  Barbier  de  Montault  in  his  work  on  “Roman  Tapestries” 
published  in  1879,  gives  much  information  regarding  this  noted 
series,  and  furnishes  a list  of  the  subjects,  which  is  the  same  as  here 
given.  Both  Eugene  Muntz,  and  Jules  Guiffrey,  in  their  works  on  taps 
estries,  emphasize  the  importance  of  these  pieces  and  give  their  titles. 
They  were  woven  in  the  Barherini  Palace  and  an  effort  was  made 
to  obtain  the  cool  effects  of  Italian  frescoes  instead  of  the  richness  and 
warmth  of  Flemish  tapestries.  The  reds,  blues  and  greens,  which  are 
the  prominent  colors,  are  bright  and  a little  hard;  the  same  tones 
are  repeated  in  the  elaborate  and  interesting  borders. 

In  the  four  corners  of  all  the  borders  of  these  tapestries  are  car? 
touches  enclosing  three  bees,  the  emblem  of  the  Barherini  family, 
encircled  by  a wreath.  In  the  middle  of  the  top  borders  of  all  except 
the  fourth  and  twelfth  are  cartouches  with  medallion  centers,  en? 
closing  in  the  first,  second,  fifth,  sixth,  eighth  and  eleventh,  the 
picture  of  an  old  Roman  plough  to  which  two  bees  are  harnessed, 
while  a third  drives  them.  In  the  third,  seventh,  ninth  and  tenth, 
the  medallion  centers  enclose  a representation  of  the  sun  rising  above 
the  sea.  In  the  middle  of  the  top  borders  of  the  fourth  and  twelfth 
tapestries  the  medallion  wreaths  are  supported  by  winged  cherubs. 
In  the  former  the  wreath  encircles  the  words  aegyptvs  sanctificata, 
and  in  the  latter  the  words  terra  sancta.  In  these  two  tapestries 
similar  medallions  and  cherubs  occupy  the  center  of  the  bottom 
borders.  In  the  fourth  the  wreath  encircles  a scene  in  Egypt,  and 
in  the  twelfth  the  walled  city  of  Jerusalem.  In  the  center  of  the  side 
borders  the  cartouches  contain  representations  of  wayside  chapels. 

In  the  middle  of  the  bottom  borders  of  all  the  other  tapestries  the 
cartouche  with  medallion  center  encloses  a female  figure  with  two 
infants  representing  Charity.  In  the  center  of  their  lateral  borders 
a cartouche  encloses  the  figure  of  Faith  on  the  left,  and  that  of  Hope 
on  the  right.  The  interstices  between  the  cartouches  are  occupied 
by  entwined  olive  branches  knotted  with  ribbons. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 

Acquired  by  Mrs.  Elizabeth  U.  Coles  in  1891  and  presented  by 
her  to  the  Cathedral  of  St.  John  the  Divine,  in  New  York  City. 

3°3 


VII 

THE  LAST  SUPPER 
Height,  15  ft.,  8 in.  Width,  17  ft.,  3 in. 

Signed  I.  A.C.  D.L.  R.I.V. 

THIS  tapestry  represents  Christ  seated  at  a table  over  which  a 
white  cloth  is  spread.  Six  of  his  disciples  sit  on  his  right  and  six 
upon  his  left.  The  artist  has  chosen  the  moment  when  the  disciples 
1 'Began  every  one  of  them  to  say  unto  him,  'Lord,  is  it  I?’”  John  sits 
at  his  right.  Peter  in  the  left  foreground  raises  his  left  hand  in  pros 
test.  The  face  of  Judas  is  not  seen,  for  he  turns  away  as  Christ  with 
his  right  hand  uplifted,  and  holding  a piece  of  the  bread  which  he 
has  just  broken,  gazes  intently  at  him.  Christ  wears  the  usual  flows 
ing  robe  and  there  is  a halo  about  his  head.  On  the  table  is  bread  and 
a goblet  of  wine.  On  the  floor  stand  a ewer  and  basin. 

It  is  evident  that  fervent  faith  guided  the  brush  of  Romanelli, 
and  the  hroche  of  Riviera,  otherwise  they  could  not  have  expressed 
so  feelingly  the  humility  of  Mary  in  the  presence  of  the  angel;  the 
homage  of  the  Magi;  the  faith  and  trust  in  repose,  during  the  flight 
into  Egypt;  the  fervor  of  John  and  the  abnegation  of  Our  Saviour  in 
the  baptism;  the  bewilderment  of  the  disciples  and  the  glory  of 
Christ  in  the  transfiguration;  their  vehement  protests  and  Christ’s 
sadness  in  the  Last  Supper;  the  temptation  of  Christ  and  the  tender? 
ness  of  the  ministering  angels  in  the  Passion ; the  resignation  of  Our 
Saviour,  the  devotion  of  the  Marys  in  the  Crucifixion;  and  the  glori? 
ous  triumph  of  the  Resurrection. 

Acquired  by  Mrs.  Elizabeth  U.  Coles  in  1891  and  presented  by 
her  to  the  Cathedral  of  St.  John  the  Divine,  in  New  York  City. 


k'slfe&t' 


I 


XII 

MAP  OF  THE  HOLY  LAND 

Height,  15  ft.,  8 in.  Width,  19  ft.,  1 in. 

Dated  MDCLII  Signed  IAC.  DL.  RIV 

THE  twelfth  tapestry  hears  the  same  signature  as  the  others,  and 
the  date  of  manufacture,  1652.  The  borders  of  the  fourth  tapes* 
try  and  this  one  of  the  map  are  alike,  and  have  been  previously 
described. 

As  it  represents  no  scene  in  the  Life  of  Christ  it  is  not  included 
in  the  lists  of  Montault,  Muntz,  and  Guiffrey,  still  as  it  pictures  the 
country  in  which  these  scenes  were  enacted,  and  is  counted  with 
the  others  in  the  Barberini  inventory,  it  seems  strange  that  they 
made  no  mention  of  it. 

There  are  few  tapestry  maps  now  in  existence,  and  this  one  is 
unusually  well  preserved  and  curiously  interesting.  It  is  confusing 
because  it  is  not  oriented  in  the  regular  manner.  The  north  lies 
towards  the  lower  left*hand  corner  as  is  shown  by  the  indicator  in 
the  lower  right*hand  corner.  There  are  mountains,  plains,  rivers, 
tents,  forts,  villages  and  trees  shown  upon  its  surface.  Jerusalem  is 
conspicuous  from  the  space  it  occupies  and  the  indication  of  its  city 
walls.  The  name  is  written  in  large  letters  above.  A little  higher 
to  the  right  of  the  Holy  City  the  word  “Bethlehem”  is  written  over 
a small  cluster  of  buildings.  Towards  the  top  “Decapolis”  stands 
out  in  large  letters  and  near  the  bottom  “Galilaea.”  “Phoenice”  is 
written  across  the  hills  and  plains  at  the  extreme  left.  The  entire 
map  is  dotted  with  the  written  names  of  more  or  less  important 
towns  and  villages. 

Acquired  by  Mrs.  Elizabeth  U.  Coles  in  1891  and  presented  by 
her  to  the  Cathedral  of  St.  John  the  Divine,  in  New  York  City. 


THE  APOLLO  SERIES 

Cartoons  by  Nicolas  Poussin. 


I 

LATONA  WITH  HER  CHILDREN, 

APOLLO  AND  DIANA 
Height,  13  ft.,  6 in.  Width,  15  ft.,  6 in. 

II 

DAPHNE  FLYING  FROM  APOLLO 
Height,  13  ft.,  4 in.  Width,  15  ft.,  6 in. 

III 

APOLLO  GUARDING  THE  HERD  OF  LAOMEDON 
Height,  13  ft.,  4 in.  V/idth,  15  ft.,  3 in. 

IV 

APOLLO  AND  THE  NINE  MUSES  > ^ 
Height,  13  ft.,  8 in.  Width,  8 ft.,  11  in. 

V 

APOLLO  AND  ATTENDANTS  FLAYING  MARSYAS 
Height,  13  ft.,  6 in.  Width,  15  ft.,  4 in. 

This  series  was  woven  about  1636,  under  the  supervision  of 
Jacopo  della  Riviera  or  his  son?in?law,  after  the  cartoons  of  Nicolas 
Poussin,  in  the  atelier  for  the  manufacture  of  tapestries  established 
in  the  Barberini  palace  by  Cardinal  Francois  Barberini  and  presum? 
ably  for  the  personal  use  of  the  latter,  as  the  borders  bear  his  coat? 
of?arms. 

The  five  tapestries  represent  episodes  in  the  life  of  Apollo;  the  set? 
ting  is  always  a landscape  with  fine  old  trees  in  the  foreground,  and 
plains  and  distant  hills  in  the  background.  The  foliage  is  clothed  in 
the  green  of  summer  and  nature  is  quiet  and  serene,  all  the  action 

3IQ 


being  centered  in  tbe  personages,  whose  figures  are  small  and  corns 
paratively  unimportant. 

There  are  no  bright  colors  in  any  of  tbe  pieces. 

Although  all  the  standard  works  on  Italian  tapestry  state  that 
Poussin  furnished  the  cartoons  for  some  of  the  tapestries  manufac? 
tured  in  the  Barberini  palace,  no  others  exist  in  the  collection  which 
could  possibly  have  been  executed  from  his  cartoons.  In  this  series 
one  recognizes  with  pleasure  and  delight  the  characteristic  features 
of  his  paintings. 

The  distant  mountains  tinted  with  blue  and  white,  the  nearer 
hills,  topped  here  and  there  hy  a chateau,  monastery,  or  farm  house, 
the  foliage,  the  running  water,  and  the  personages  all  show  the  indk 
vidual  style  of  this  great  artist. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 

Now  in  the  possession  of  Mrs.  Hamilton  McK.  Twombly. 


II 

DAPHNE  FLYING  FROM  APOLLO 
Height,  13  ft.,  4 in.  Width,  15  ft.,  6 in. 

THE  second  tapestry  is  here  illustrated.  It  represents  the  maiden 
at  the  moment  when  Apollo  extends  his  hand  to  seize  her  and 
she  is  metamorphosed  into  a laurel  tree ; her  uplifted  arms  are  turns 
ing  into  branches  and  her  hair  bristles  with  foliage.  On  the  other 
side  of  the  river  sits  Peneus,  her  father,  one  arm  resting  upon  an  urn 
from  which  flows  a stream  of  water,  and  holding  a staff  in  his  left 
hand.  He  has  heard  his  daughter’s  cry  for  help,  and  instantly  granted 
her  prayer.  Large  trees  are  in  the  foreground  and  an  old  building 
stands  upon  a hill  in  the  distance. 

The  borders  form  magnificently  decorative  frames  for  these 
quiet  landscapes,  and  in  them  we  find  just  the  amount  of  color 
necessary  to  redeem  the  subjects  they  enclose  from  the  monotony 
of  green. 

In  the  top  border  of  each  is  a cartouche  enclosing  the  laughing 
face  of  Bacchus,  encircled  by  garlands  and  festoons  of  flowers  and 
leaves.  To  the  right  and  left  of  the  head  of  Bacchus  are  two  cornu* 
copias  separated  by  large  shells.  In  the  bottom  border  is  a cartouche 
with  a medallion  center  supported  by  two  young  satyrs.  The  medal* 
lion  encloses  three  bees,  the  emblem  of  the  Barberini  family,  encir* 
cled  by  a wreath.  To  the  right  and  left  of  the  satyrs  are  piles  of  fruit 
attached  to  their  shoulders  by  ribbons.  In  the  lateral  borders  are 
caryatides  with  the  heads  of  women.  Each  of  these,  entwined 
with  a garland,  holds  upon  its  head  a vase  filled  with  flowers  and 
stands  upon  a pedestal  ornamented  with  sphinxes  and  heads  of  rams. 
Now  in  the  possession  of  Mrs.  Hamilton  McK.  Twombly. 


312 


THE  DIDO  AND  AENEAS  SERIES 

Cartoons  by  Jean  Francois  Romanelli. 

I 

INTERVIEW  BETWEEN  VENUS  AND  AENEAS 
Height,  13  ft.,  6 in.  Width,  10  ft.,  8 in. 

II 

CUPID  IN  THE  GUISE  OF  ASCANIUS  PRESENTING 
THE  GIFTS  OF  AENEAS  TO  DIDO 

Height,  13  ft.,  9 in.  Width,  20  ft.,  10  in. 

Signed  M.  Wauters. 

III 

DIDO  SACRIFICING  TO  JUNO  ^ 
Height,  13  ft.,  7 in.  Width,  15  ft.,  3 in. 

Signed  J . F.  Romanellus . * M . Wr auter s . 

IV 

DIDO  SHOWING  AENEAS  PLANS  FOR  THE 
FORTIFICATIONS  OF  CARTHAGE 

Height,  13  ft.,  8 in.  Width,  18  ft.,  6 in. 

Signed  M.  V/. 

V 

DIDO  AND  AENEAS  PURSUED  BY  CUPID  AND 
HYMEN  SEEKING  SHELTER  FROM 
THE  STORM 

Height,  13  ft.,  8 in.  Whdth,  13  ft.,  9 in. 

Signed  M.  Wauters. 

* Romanelli  in  signing  his  works  used  the  Latin  spelling  of  his  name. 

3*5 


VI 


MERCURY  NOTIFYING  AENEAS  THAT  JUPITER 
COMMANDS  HIM  TO  LEAVE  CARTHAGE 

/ 

Height,  13  ft.,  3 in.  Width,  11  ft.,  o in. 

Signed  M.  W’auters. 

VII 

PARTING  OF  DIDO  AND  AENEAS 
Height,  13  ft.,  3 in.  Width,  13  ft.,  o in. 

Signed  M.  Whuters. 

VIII 

DEATH  OF  DIDO 
Height,  13  ft.,  5 in.  W^idth,  15  ft.,  4 in. 

Signed  M.  Wauters. 

This  series  was  woven  hy  M.  W'auters,  between  the  years  1635 
and  1645,  *n  t^ie  Barherini  Palace  at  Rome,  after  cartoons  hy  Jean 
Francois  Romanelli.  The  third  tapestry  only  hears  the  signature 
of  the  cartoonist,  but  all  except  the  first  are  signed  hy  the  master 
weaver. 

In  the  inventory  of  tapestries  owned  hy  Cardinal  Carlo  Barherini 
in  1695,  they  are  mentioned  as  “Series  woven  in  silk  and  wool,  repre* 
senting  the  history  of  Dido  and  Aeneas,  designed  hy  Romanellus, 
eight  tapestries.” 

The  large  number  in  the  series,  the  fineness  of  their  texture,  the 
absorbing  story  which  they  illustrate,  their  strong  and  graceful 
compositions,  the  nobility  of  the  prominent  personages,  the  life, 
sentiment  and  movement  expressed,  the  architectural  effect  of 
their  rich  borders,  and  their  historical  importance,  combine  in  plac* 
ing  them  in  the  highest  rank  of  Italian  tapestries.  They  recall  few 
Flemish  traditions,  as  they  were  designed  hy  an  Italian  artist,  and 
executed  hy  a weaver  who  was  probably  horn  in  Italy,  although  of 
Flemish  ancestry.  Cardinal  Francois  Barherini,  when  he  ordered 

316 


them,  desired  these  tapestries  to  illustrate  Italian  skies  and  atmos* 
phere,  and  to  express  the  taste  and  feeling  of  the  Latin  race. 

The  combined  efforts  of  cartoonist  and  weaver  have  resulted  in 
producing  the  effect  of  the  grand  old  frescoes  of  their  day,  bereft  of 
all  hard  lines,  and  clothed  with  a brilliancy,  warmth,  softness  and 
durability  which  must  ever  be  denied  to  wall  paintings. 

The  story  of  Dido  and  Aeneas,  from  the  moment  the  shipwrecked 
hero,  directed  by  Venus,  finds  his  way  to  Carthage,  until  the  hour 
of  his  departure  and  Dido’s  tragic  death,  is  wonderfully  expressed. 
The  artist  has  been  inspired  by  Virgil’s  “Aeneid,”  and  from  the 
poet’s  descriptions  planned  his  drawings. 

Aeneas,  with  his  companion,  Achates,  is  met  in  the  woods  by 
Venus  disguised  as  a Spartan  maid,  who  directs  them  where  to  find 
Dido’s  palace.  Here  they  are  royally  welcomed  and  a banquet  is 
spread  in  their  honor.  Dido,  happy  in  the  love  of  Aeneas,  offers 
sacrifices  to  Juno  in  order  that  she  may  appease  that  jealous  god^ 
dess ; then,  lest  Aeneas  may  grow  weary  and  long  again  for  the  clash 
of  arms.  Dido  interests  him  in  the  plans  for  the  fortifications  of  the 
city.  Standing  between  him  and  the  architects,  she  points  to  the 
plans,  which  are  held  by  a kneeling  servant,  while  around  them 
workmen  are  busily  employed. 

Next  comes  the  scene  where,  driven  by  the  storm.  Dido  and 
Aeneas  seek  shelter  in  a cave,  to  which  they  have  been  directed  by 
the  gods  Cupid  and  Hymen.  Mercury  is  sent  at  Jupiter's  command 
with  orders  for  Aeneas  to  leave  Carthage  without  delay,  that  he  may 
fulfil  his  destiny.  So  the  hour  comes  when  farewells  are  said  upon 
the  seashore ; the  ships  are  being  made  ready  for  departure ; the  sister 
and  nurse  of  Dido  look  upon  the  scene  from  a distance;  and  the  two 
lovers  stand  alone  in  the  foreground. 

After  the  sailing  of  the  fleet,  Dido  left  alone,  collects  the  armor, 
clothing  and  sword  of  Aeneas  and  causes  them  to  be  placed  upon  a 
pile  of  oak  and  pine  which  she  orders  lighted;  she  then  mounts  the 
pile,  and  seizing  the  Trojan’s  sword  plunges  it  into  her  heart,  and  dies 
in  the  presence  of  her  despairing  companions.  Above  Dido’s  head 
is  the  goddess  Iris  bearing  away  a lock  of  hair  to  Proserpine.  In  the 
distance  the  Trojan  fleet  puts  out  to  sea. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 


3*7 


II 

CUPID  IN  THE  GUISE  OF  ASCANIUS  PRESENTING 
THE  GIFTS  OF  AENEAS  TO  DIDO 

Height,  13  ft.,  9 in.  Width,  20  ft.,  10  in. 

Signed  M.  Wauters. 

THIS  tapestry  represents  a banquet  being  served  in  a marble  ball 
of  Dido’s  palace.  Aeneas,  who  has  been  given  the  seat  of  honor, 
wears  a blue  tunic,  light  blue  body  armor,  with  scales  and  pale  yeb 
low  pendants,  and  a dark  red  mantle.  On  bis  left  sits  the  queen ; she 
is  crowned  and  wears  a blue  robe  and  pale  yellow  mantle.  Her  bands 
are  outstretched  in  pleased  surprise  at  the  beautiful  objects  presented 
to  her  by  the  supposed  Ascanius  kneeling  at  her  feet.  Behind  the  boy 
stands  Achates.  A mantle  falls  over  bis  armor  and  in  bis  right  band 
be  carries  a spear. 

A number  of  maidens  are  actively  preparing  the  feast,  and  in  the 
foreground  are  several  officers  seated  upon  the  marble  floor. 

The  weavers  have  interpreted  with  great  success  the  columns, 
pilasters  and  draperies  of  the  palace,  and  the  costumes  of  the  various 
individuals.  The  excellence  of  the  grouping  and  posing  of  the  princk 
pal  personages,  of  the  servitors  preparing  the  feast,  and  of  the  officers 
reclining  near  the  base  of  the  throne  deserves  much  praise. 

Red,  blue  and  yellow,  the  predominating  colors  in  this  tapestry, 
are  apparent  in  the  others  of  the  series,  as  Dido  and  Aeneas  wear  the 
same  costumes  in  all. 

Ffoulke  Collection,  1889. 


318 


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Ill 


DIDO  SACRIFICING  TO  JUNO 

Height,  13  ft.,  7 in.  Width,  15  ft.,  3 in. 

Signed  J . F.  Romanellus . M . W auters . 

THE  third  tapestry  illustrates  Dido  sacrificing  in  the  temple  dedk 
cated  to  Juno.  The  gilded  bronze  statue  of  Juno  with  her  emblem, 
the  peacock,  is  visible  on  the  left ; a woman  kneels  at  the  foot  of  the 
pedestal,  which  is  surrounded  by  the  columns  of  the  temple.  Before 
the  altar  in  front  of  the  temple  stands  Dido,  crowned,  and  wearing 
a blue  robe  and  yellow  mantle,  as  in  the  previous  illustration.  With 
her  right  hand  she  feeds  the  altar  with  Sahaean  smoke.  She  is 
attended  by  two  maids  of  honor,  and  an  acolyte  stands  at  her  side. 
The  temple  butcher  kneels  before  the  slaughtered  heifer,  which  lies 
at  the  foot  of  the  altar  with  a garland  of  flowers  around  its  neck.  An 
attendant  stands  on  the  left  holding  a basin.  Three  priests  stand  be* 
hind  the  altar;  all  wear  chaplets,  showing  they  are  consecrated  to 
the  worship  of  Juno. 

The  borders  are  alike  in  all  the  tapestries.  In  the  center  of  each 
top  border  is  a dark  blue  motive,  to  the  right  and  left  of  which  are 
cherubs  playing  with  ribbons  and  reclining  upon  festoons  of  leaves 
and  flowers.  The  side  borders  represent  twisted  marble  columns 
with  Corinthian  capitals.  They  are  entwined  with  ropes  of  exquis* 
itely  colored  flowers.  On  the  pedestals  of  the  columns  are  the  heads 
of  women  crowned  with  wreaths  of  leaves.  In  the  center  of  each 
bottom  border  is  a helmet  decorated  with  blue  ostrich  feathers,  a 
bow,  a sword,  and  two  shields,  over  which  is  thrown  red  drapery. 
To  the  right  and  left  are  dolphins  holding  in  their  mouths  dark  blue 
shells. 

Ffoulke  Collection,  1889. 


323 


CONSTANTINE  THE  GREAT 

i - 

CONSTANTINE  SLAYING  A HON 
Height,  16  ft.,  o in.  Width,  9 ft.,  6 in. 
Signed  IAC.  D.L.  RIV. 


II 


CONSTANTINE  CONTEMPLATING  THE 
FLAMING  CROSS  IN  THE  SKY 

Height,  16  ft.,  o in.  V/idth,  11  ft.,  3 in. 

Cartoon  hy  Jean  Francois  Romanelli.  Signed  IAC.  D.  RIV. 

III  ✓ 

CONSTANTINE  DESTROYING  IDOLS  AND  REPLAG 
ING  THEM  WITH  CHRISTIAN  STATUES 

Height,  15  ft.,  10  in.  Width,  12  ft.,  2 in. 

Cartoon  hy  Cortona.  Signed  IAC.  D.  L.  RIV. 

IV  ✓ 

NAVAL  BATTLE  BETWEEN  THE  FLEETS  OF 
CONSTANTINE  AND  LICINIUS 

Height,  16  ft.,  4 in.  Width,  23  ft.,  o in. 

Cartoon  hy  Charles  Neapolitan.  Signed  IAC.  D.L.  RIV. 

V / 

CONSTANTINE  BURNING  THE  CREED  OF 
THE  ARYANS  AT  NICAEA 

Height,  15  ft.,  10  in.  Width,  14  ft.,  10  in. 

Cartoon  by  Jean  Franfois  Romanelli.  Signed  IAC.  D.  RIV. 

VI  ^ 

CONSTANTINE  SUPERINTENDING  THE  CONSTRUG 
TION  OF  CONSTANTINOPLE 

Height,  15  ft.,  10  in.  Width  15  ft.,  7 in. 

Cartoon  by  Peter  Paul  Rubens.  Mark  P ^ Signed  j|j  I T 


The  first  five  of  these  tapestries  were  woven  between  the  years 
1634  and  1644  in  the  Barherini  palace  at  Rome ; the  sixth  waswoven 
at  the  Gobelins  about  1620.  They  are  enumerated  in  the  inventory 
of  Barherini  tapestries  dated  October  25th,  1695.  Woven  under  the 
direction  of  Jacopo  della  Riviera,  and  enriched  with  threads  of  gold 
and  silver,  they  are  magnificent  specimens  of  the  skill  of  this  noted 
weaver.  The  cartoons  were  all  executed  by  celebrated  artists,  and 
those  designed  for  the  third,  fourth  and  fifth  tapestries  are  still  pre* 
served  in  the  Barherini  palace.  The  first  tapestry,  whose  cartoon  is 
attributed  by  some  to  Romanelli  and  by  others  to  Cortona,  never  had 
any  lateral  borders,  having  been  woven  originally  for  a narrow 
space. 

It  represents  Constantine,  wearing  a costume  richly  laden  with 
gold  and  silver  threads,  in  the  act  of  slaying  a lion  by  plunging  a 
sword  through  its  mouth  and  neck;  he  stands  in  an  arena  before  the 
eyes  of  several  excited  soldiers,  who,  leaning  over  a fence,  manifest 
the  deepest  interest  in  the  scene. 

In  the  second  tapestry,  Constantine,  crowned  with  a laurel 
wreath,  stands  upon  an  elevated  platform  contemplating  the  cross 
in  gold,  which  is  evidently  invisible  to  the  soldiers  about  him.  In  the 
third  tapestry  Constantine  is  attended  by  two  priests,  an  acolyte 
hearing  a huge  cross,  and  two  servitors.  Under  his  direction  the 
latter  are  placing  the  image  of  a Catholic  prelate  upon  the  pedestal 
from  which  a pagan  deity  has  been  deposed.  Constantine  has  his 
foot  upon  a broken  idol.  His  costume  and  those  of  the  priests  are 
magnificent  and  richly  interwoven  with  gold  and  silver.  It  is  doubts 
ful  if  Cortona  ever  produced  anything  finer  than  his  cartoon  for  this 
tapestry. 

In  the  fifth  tapestry  Constantine  is  seen  thrusting  the  Creed  of 
the  Aryans  into  a fire  which  burns  in  a brazier  held  by  a kneeling 
servitor.  He  is  crowned  with  laurel,  and  wears  a mantle  and  cos* 
tume  woven  in  gold  and  silver.  A prelate  stands  next  to  the  Emperor 
and  there  is  a cowled  monk  in  the  group  that  surrounds  him. 

Illustrations  and  full  descriptions  are  given  of  the  fourth  and  sixth 
tapestries. 

Barherini  Collection. 

Ffoulke  Collection,  1889. 

Now  in  the  possession  of  John  R.  McLean,  Esq. 

325 


IV 


NAVAL  BATTLE  BETWEEN  THE  FLEETS  OF 
CONSTANTINE  AND  LICINIUS 

Height,  16  ft.,  4 in.  Width,  23  ft.,  o in. 

Cartoon  hy  Charles  Neapolitan.  Signed  IAC.  DL.  RIV. 

THIS  tapestry,  the  cartoon  of  which  was  executed  hy  a talented 
pupil  of  Romanelli,  represents  the  celebrated  naval  battle  be* 
tween  the  fleet  of  Constantine  under  the  command  of  his  son,  Cris* 
pus,  and  that  of  Licinius  under  Admiral  Amandus. 

All  the  standards  of  Constantine  are  crowned  with  the  cross;  his 
ships  are  on  the  left,  their  prows  carved  with  the  heads  of  wild  hoars. 
The  ships  of  Licinius  are  upon  the  right  and  their  figurebieads  are 
lions.  Both  sides  display  the  eagle,  as  all  are  Romans  fighting  for  the 
supremacy  of  rival  emperors. 

All  the  ships  are  crowded  with  fighting  men  clad  in  armor.  The 
one  in  the  right  foreground  is  sinking,  and  three  warriors  are  swims 
ming  from  it  towards  the  one  on  the  left,  where  their  enemies  are 
eager  to  destroy  them.  It  is  a powerful  illustration  of  a terrific 
struggle.  All  the  soldiers  are  superb  specimens  of  fighting  men  and 
strong  emotions  are  portrayed  in  their  faces.  That  the  Admiral  has 
given  up  the  struggle  is  easily  seen  from  the  despair  shown  in  his 
features  and  gestures.  Every  part  has  been  well  conceived  and 
developed,  from  the  costumes,  rich  in  gold  and  silver,  the  robing 
smoke,  agitated  water  and  sinking  ships,  to  the  drowning  and  fights 
ing  warriors. 

In  the  center  of  the  top  border  of  this  tapestry  is  a rose  cartouche, 
which  encloses  a medallion  of  flowers  encircling  the  letters  ^ in 
gold.  To  the  right  and  left  of  the  central  decorations  are  the  busts 
of  sphinxes  and  hunches  of  palm  sprigs,  also  cornucopias  of  fruits, 
flowers  and  leaves,  all  intertwined  with  blue  scarfs  having  knotted 
and  tasseled  ends. 

In  the  center  of  the  bottom  border  is  a similarly  shaded  cartouche, 
which  encloses  two  branches  of  laurel  upon  a gold  ground.  On 
either  side  of  the  cartouche  are  scrolls  and  cornucopias  of  fruits  and 
flowers.  In  each  of  the  four  corners  is  a polychrome  cartouche,  two 
of  which  enclose  heads  of  men,  and  two,  heads  of  women.  In  the 

326 


center  of  each  of  the  lateral  borders  is  a cartouche  enclosing  an 
escutcheon  emblazoned  with  a golden  Barberini  bee  upon  a blue 
ground.  The  princely  crown  of  the  family  rests  upon  the  top  of  the 
cartouche,  and  from  its  center  spring  two  palm  branches.  They  are 
tied  with  blue  ribbons,  and  encircle  a bunch  of  flowers  suspended  by 
blue  ribbons  from  the  decoration  in  the  upper  corners.  Beneath  the 
cartouche  hangs  a bouquet  of  flowers,  two  palm  branches  and  two 
trumpets,  also  interwoven  with  blue  ribbon,  and  gold  and  silver 
threads. 

Now  in  the  possession  of  John  R.  McLean,  Esq. 


VI 


CONSTANTINE  SUPERINTENDING  THE  CON, 
STRUCTION  OF  CONSTANTINOPLE 

Height,  15  ft.,  10  in.  Width,  15  ft.,  7 in. 

Cartoon  hy  Peter  Paul  Rubens 

Mark P Signed^  IT 

THIS  tapestry  originally  formed  part  of  a set  of  seven,  made  at  the 
Royal  ateliers  under  de  la  Planche,  and  presented  hy  Louis  XIII 
to  Cardinal  Barberini  in  1625.  The  titles  of  the  other  six  are  all  men, 
tioned  in  the  Barberini  inventory  of  1695,  and  with  them  the  sub, 
jects  of  the  five  pieces  woven  in  the  Barberini  ateliers,  by  order  of 
the  Cardinal,  to  enlarge  the  series  and  more  thoroughly  illustrate 
the  history  of  Constantine  the  Great.  It  is  a great  misfortune  that, 
with  the  exception  of  the  one  here  illustrated,  all  of  those  presented 
to  the  Cardinal  by  the  King  have  disappeared;  no  trace  of  them  can 
be  found,  although  diligent  search  has  been  made. 

In  this  piece,  Constantine  stands  upon  the  right,  crowned  with 
laurel,  and  wearing  an  imperial  mantle  interwoven  with  gold  and 
silver  threads.  A large  eagle  rides  the  air  above  him  holding  a 
laurel  wreath  in  its  beak.  Behind  the  Emperor  stands  one  of  his 
suite,  and,  in  front,  the  kneeling  architect  points  with  a pair  of  com, 
passes  to  the  plan  held  up  for  inspection  by  his  assistant.  Constan, 
tine  indicates  by  a movement  of  his  hand  the  place  where  the  work 
shall  be  done  and  the  architect,  by  pointing  in  the  same  direction, 
signifies  that  he  understands.  Three  men  are  at  work  upon  columns 
and  pedestals  that  He  upon  the  ground.  In  the  background  is  a glimpse 
of  Byzantium,  the  Sea  of  Marmora  and  the  hills  along  the  Bosphorus. 

It  is  a powerful,  welbgrouped  composition,  in  which  all  the  colors 
are  well  preserved,  including  the  flesh  tints,  which  have  lost  little  of 
their  original  strength.  The  fame  of  Rubens,  who  painted  the  car? 
toon,  and  the  reputation  of  the  establishment  in  which  the  tapestry 
was  woven,  cause  it  to  rank  among  the  most  celebrated  pieces  pro, 
duced  during  the  reign  of  Louis  XIII. 

The  borders  of  the  other  five  tapestries,  previously  described,  are 
copies  from  the  one  surrounding  this  piece;  the  only  difference  being 
that  here,  in  the  lateral  borders,  are  the  arms  of  France  and  Navarre 


33° 


encircled  by  tbe  Order  of  tbe  Holy  Spirit  witb  its  pendant  cross,  and 
surmounted  by  tbe  royal  crown  of  France,  and  in  tbe  cartoucbe  of 
tbe  bottom  border  an  eagle  spreads  its  wings  and  bolds  a serpent  in 
its  beak. 

In  1910,  France  lent  to  tbe  Exposition  at  Brussels  a series  of  Com 
stan tine,  executed  by  de  la  Plancbe  from  Rubens's  cartoons.  Among 
tbe  subjects  there  was  an  exact  counterpart  of  tbe  tapestry  and 
border  bere  described. 

Now  in  tbe  possession  of  Jobn  R.  McLean,  Esq. 


333 


VENUS  AND  AENEAS  SERIES 

i 

JUPITER  APPEARING  BEFORE  VENUS 
Height,  12  ft.,  io  in.  Width,  io  ft.,  4 in. 

Signed  '1111  P.  Fevre 

II 

VENUS  ESCORTING  AENEAS  FROM  TROY 
Height,  12  ft.,  11  in.  Width,  8 ft.,  4 in. 

III 

DEPARTURE  OF  AENEAS  FROM  CARTHAGE 
Height,  12  ft.,  10  in.  Width,  10  ft.,  5 in. 

These  tapestries  were  woven  about  1630  in  the  ateliers  of  the 
Medici  family  at  Florence. 

The  ateliers  flourished  for  about  two  hundred  years  and  were  one 
of  the  sources  of  their  enormous  wealth. 

There  are  very  few  Florentine  tapestries  in  the  palaces  and  mu* 
seums  of  Europe,  and  none  to  he  found  in  the  hands  of  dealers. 

The  cartoonists  and  weavers  in  Italy  always  sought  to  give  to  their 
works  the  appearance  of  frescoes.  Thus  in  essential  characteristics 
they  differed  materially  from  Flemish  productions  of  the  same  pe* 
riod.  The  fresco  effect  is  very  marked  in  this  series,  both  in  drawing 
and  in  the  harmonious  combination  of  soft  and  delicate  colors. 

The  first  tapestry,  “Jupiter  Appearing  Before  Venus,"  of  which 
the  illustration  is  given,  hears  the  signature  of  the  weaver,  P.  Fevre, 
preceded  by  a red  hall,  an  emblem  of  the  Medici.  It  represents  Jupiter 
crowned  with  a laurel  wreath,  forked  lightning  in  his  hand,  seated 
upon  a cloud  and  wearing  a dark  rose  mantle.  He  is  accompanied 
by  Mars,  wearing  a helmet  and  carrying  a shield,  and  by  Mercury, 
his  winged  cap  upon  his  head.  Upon  the  ground  just  below  them 
stand  Venus  and  Flora.  Their  costumes  are  of  dark  rose  and  yellow* 
brown  garments  over  white.  Flora  carries  a spear  and  is  crowned 
with  a wreath. 


334 


Jupiter  informs  them  that  if  Aeneas  leaves  Troy  and  sails  for  Italy 
kis  Hfe  will  ke  spared. 

Tke  second  skows  Venus  escorting  Aeneas  from  ill-fated  Troy; 
ske  wears  a green  roke ; ke,  a klue  tunic,  rose  mantle,  and  plumed 
kat.  In  kis  left  kand  ke  carries  a bunck  of  okve  leaves,  and  in  kis  rigkt 
band  a drawn  sword.  In  tke  background  one  sees  tke  flames  of  burn? 
ing  Troy. 

Tke  tkird  pictures  Dido,  witk  a dagger  pressed  to  ker  keart,  lean? 
ing  over  tke  parapet  of  a fortress  in  tke  background,  wkile  Aeneas 
and  kis  warriors  prepare  to  enter  tke  skip  wkick  is  to  carry  tkem 
from  Cartkage.  Tke  kelmet  of  Aeneas  is  adorned  witk  yellow 
ostrick  featkers,  and  ke  wears  a flowing  rose  mantle  over  a tunic 
of  blue  decorated  witk  yellow. 

Tke  borders  of  tke  first  and  tkird  tapestries  are  alike  in  character 
and  motives.  Tke  colors  used  in  tke  garments  of  tke  figures  are 
repeated  in  tke  warlike  attributes,  and  in  tke  shells  and  cartouches 
of  wkick  tke  borders  are  mainly  composed.  Near  tke  top  of  each 
lateral  border,  in  these  two  tapestries,  is  a crown  above  a pair  of 
trumpets,  crossed  over  two  flags  wkick  vary  in  color. 

In  tke  lateral  borders  of  tke  second  tapestry  there  is  a marked 
change  in  design,  but  not  in  character.  Large  drums,  battle  axes  and 
swords  are  prominent;  on  tke  left  side,  near  tke  top,  is  tke  open 
crown  and  sceptre  of  tke  Dukes  of  Tuscany,  and  on  tke  right  side, 
near  tke  bottom,  tke  same  crown  witk  an  arch. 

Barberini  Collection. 

Ffoulke  Collection,  1889. 


337 


INDEX 


PAGE 

Charles  Mather  Ffoulke Frontispiece 

Charles  Mather  Ffoulke,  By  Glenn  Brown,  F.  A.  I.  A.  . 5 

Introduction,  By  Ernest  Verlant,  Directeur  general  des 

Beaux? Arts  a Bruxelles 19 

FLEMISH  TAPESTRIES 

Archdukes  Albert  and  Isabella  Series,  The 88 

I Isabella  Receiving  a Message  (Plate) 90 

II  Albert  Presenting  a Captured  Knigbt  to  Isabella  . 89 

III  Albert  Presenting  a Sword  to  tbe  Chief  of  tbe  Army  89 

IV  Albert  Promising  to  be  Godfather  to  a Nobleman’s 

Child 89 

V Albert  Receiving  a Hare  from  a Huntsman  ...  89 

Biblical  Subjects,  Four  . 73 

I  Tbe  Circumcision  of  Isaac 74 

II  Rebecca  Giving  Drink  to  Abraham’s  Ambassador  . 74 

III  Tbe  False  Prophet  Predicting  Victory  to  King  Abab 

(Plate) 76 

IV  The  Death  of  Ahab 75 

Chateau  and  Garden  Scenes 104 

I  Music  (Plate) , . . . 106 

II  Boating  and  Hunting 105 

III  The  Fountain 105 

IV  Gardens 105 

Cleopatra  and  Mark  Antony  (Plate) 170 

Curius  Dentatus  (Plate) 44 

Diana  Series,  The 79 

I  Diana  Stringing  Her  Bow 80 

II  Diana  Wounding  a Satyr  (Plate) 82 

III  A Maid  Lacing  the  Sandals  of  Diana 81 

IV  Diana  With  an  Infant  Upon  Her  Knees  ....  81 

V Two  Women  Fleeing  From  a Dragon  ....  81 

VI  A Warrior  Killing  a Dragon  (Plate) 87 


339 


VII  A Man  and  a Woman  Walking  in  a Garden  . 81 

VIII  A Man  and  a Woman  Sitting  in  an  Arbor  ...  81 

Flemish  Renaissance  Series 9 7 

I Arbor  on  Four  Columns,  and  a Negro  (Plate)  . . 98 

II  Arbor  on  Four  Columns,  and  a Gardener  ....  97 

III  Arbor  on  Five  Columns,  and  Two  Women  ...  97 

IV  Arbor  on  Four  Columns,  and  Two  Women  ...  97 

Goddess  Abundance,  Tbe  (Plate) 169 

Goddess  Diana  V/ olf  Hunting,  Tbe  (Plate) 158 

Goddess  Flora  and  Her  Maids,  Tbe  (Plate) 157 

Joseph  and  His  Brethren 9^ 

I  Joseph’s  Brethren  Selling  Him  to  tbe  IsbmaeHtes  . . 95 

II  Joseph  Ruler  Over  All  tbe  Land  of  Egypt  (Plate)  . 9 5 

Judith  and  Holofernes  Series,  The 135 

I King  Nebuchadnezzar  Sends  Holofernes,  tbe  Chief 

Captain  of  His  Army,  Against  Israel  . . . . 135 

II  Acbior,  tbe  Leader  of  tbe  Ammonites,  WLile  Ex* 

pounding  tbe  Power  of  tbe  God  of  Israel,  Is  Ars 
rested  by  tbe  Order  of  Holofernes 135 

III  TheWHow  Judith  Weighs  tbe  Virtues  and  tbe  Sins 

of tbe  People;  W^ben  tbe  Latter  Are  Heavier,  Israel 
Is  Punished 135 

IV  Tbe  Most  Beautiful  Judith  Arrays  Herself  in  Gar* 

ments  of  Gladness,  in  Order  that  She  May  Free 

Betbuba  from  Destruction  (Plate) 138 

V  Judith,  in  tbe  Guise  of  a Fugitive,  Cunningly  Deceives 

Holofernes,  and  Promises  Him  a Specious  Victory  136 

VI  Holofernes,  WLile  Drunken,  is  Deprived  of  His  Head 

by  Judith,  Wlio  Thus  Saves  Israel 136 

VII  Judith,  Victress,  Displays  tbe  Head  of  Holofernes  to 

to  tbe  People,  V/ho  Praise  tbe  God  of  Israel  . . 136 
VIII  Tbe  God  of  Israel  Routs  tbe  Army  of  Holofernes,  and 

Treasures  are  Given  to  Judith  (Plate)  ....  143 

King  Solomon  Receiving  tbe  Queen  of  Sheba  (Plate)  . . 181 

Lictor  Panel,  Tbe  (Plate)  149 

Loves  of  Vertumnus  and  Pomona,  Tbe  (Plate)  ....  49 

340 


Meleager  and  Atalanta  Series,  The 150 

I Meleager  Presents  Atalanta  with  the  Head  of  theCale* 

donian  Boar 1 5 1 

II  Meleager  Attacks  and  Kills  His  Uncle 1 51 

III  The  Mother  of  Meleager  Thrusts  the  Fatal  Brand  into 

the  Fire  (Plate)  . . • 152 

Months  of  Lucas,  The 51 

I April  (Plate) 54 

II  May 52 

III  September 52 

IV  October 52 

V December 52 

Moses  and  Aaron  Series,  The 112 

I  Moses  and  Zipporah 1 1 3 

II  Moses  Informing  Aaron  of  God’s  Message  to  Pharaoh 

(Plate) 116 

III  Moses  and  Aaron  Instituting  the  Feast  of  the  Pass* 

over  (Plate) 121 

IV  Gathering  Manna.  Moses  Directing  Aaron  to  Keep 

an  Omer  of  It 1 1 3 

V Joshua  Defeating  Amelek.  Battle  in  Rephidim  . . 113 

VI  Moses  Receiving  the  Tablets  of  Stone  on  Mount  Sinai  1 14 

Panels,  Flemish  Renaissance  (Plate)  ......  1 1 1 

Paulus  Emilius  (Plate) 144 

Pomona  and  Vertumnus  (Plate) 127 

Renaissance  Tapestries,  Two 65 

I Battle  Between  the  Troops  of  the  King  of  Spain  and 

Those  of  the  United  Netherlands  (Plate)  ...  65 

II  The  Army  on  the  March 65 

Hunting  Scene  (Plate) 66 

Renaissance  Tapestries,  Two 71 

I The  Companions  of  Proserpine 71 

II  Vertumnus  and  Pomona.  Hunting  Scene  (Plate)  . 71 

Scenes  in  the  Life  of  King  Hezekiah 103 

I King  Hezekiah  Sacrificing  before  the  Altar  of  the 

Lord  (Plate) 103 

341 


II  The  Angel  of  the  Lord  Smiting  the  Assyrian  Captains  103 

Scenes  in  the  Life  of  Our  Saviour 122 

I  Our  Saviour  Before  Caiaphas  (Plate) 122 

II  Our  Saviour  Before  Pilate 122 

Surrender  of  a King.  The,  Fragments  from  (Plate)  . . . 132 

Tapestries  Representing  Scenes  in  the  Life  of  Achilles,  Two  i 28 
I Thetis  Presenting  Achilles  to  the  High  Priest  (Plate)  1 28 

II  Achilles  and  Agamemnon 1 3 1 

Triumph  of  Bacchus  (Plate) 175 

Triumph  of  David  (Plate) 43 

Trojan  War,  The 57 

I Sinon  Outwitting  King  Priam  (Plate) 60 

II  Battle  of  the  Ships  and  Death  of  Patroclus  ...  58 

III  Destruction  of  Troy  and  Flight  of  Aeneas  ...  58 

IV  Departure  of  the  Greeks  with  Prisoners  and  Booty,  58 
Vertumnus  Disguised  as  an  Old  Woman  Making  Love  to 

Pomona  (Plate) 164 

Vintage  Scene  (Plate) 176 

Warrior  Kneeling  at  the  Entrance  of  a Temple  (Plate)  . . 163 

FRENCH  TAPESTRIES 

Achilles  Mortally  Wounded  by  Paris  (Plate) 272 

Aminta  Series,  The 217 

I Sylvia  Charms  Away  the  Pain  of  the  Bee  Sting  from 

the  Cheek  of  Phyllis  in  the  Presence  of  Aminta  . 219 

II  Daphne  Attempts  to  Convince  Sylvia  that  to  the 

Feminine  Heart  Love  is  a Necessity,  and  Begs  Her 
to  Forgive  Aminta 219 

III  Daphne  and  T ir sis  Decide  to  Make  Another  Attempt 

to  Soften  Sylvia’s  Heart  Towards  Aminta  . . 219 

IV  Rescue  of  Sylvia  by  Aminta  and  Tirsis,  and  Flight  of 

the  Satyr 219 

V  Sylvia  and  Nerine  Hunting  Wdth  Two  Dogs  . . 219 

VI  Daphne  Prevents  the  Suicide  of  Aminta.  Nerine 
States  Her  Belief  in  Sylvia’s  Death,  and  as  Proof 
Thereof  Shows  Her  Veil  and  Javelin  which  She 
has  Found  (Plate) 220 

342 


VII  Despair  of  Sylvia  when  She  Learns  from  Ergaste  that 
Aminta,  on  Hearing  the  Report  of  Her  Death,  has 

Thrown  Himself  from  a Precipice 219 

VIII  Sylvia,  in  the  Presence  of  Daphne,  Nerine,  Tirsis, 
Ergaste,  Elphin  and  Others,  Charms  the  Uncon? 
scious  Aminta  Back  to  Life  (Plate) 225 

Armida  Panel,  The  (Plate) 230 

Arms  of  Colbert,  The  (Plate) 235 

Artemisia  Series,  The 185 

I Artemisia  and  Her  Son  Kneeling  at  the  Sacrificial 

Altar 188 

II  Dignitaries  of  Artemisia’s  Household  Carrying  Pres? 

ents 188 

III  The  Reading  of  Petitions  Before  the  Statue  of  Justice,  189 

IV  Artemisia  Distributing  Rewards  to  Soldiers  . . . 189 

V Artemisia  Superintending  the  Fading  Lesson  of  Her 

Son 189 

VI  The  Mimic  War  (Plate) 192 

VII  The  Young  Prince  Studying  Mathematics  andGeog? 

raphy 189 

VIII  The  Assembling  of  the  Artists  Before  Artemisia  . 190 

IX  Artemisia  Rewarding  the  Artists  Who  Assisted  in 
Designing  and  Erecting  the  Monument  to  Mau? 

solus 190 

X  The  Colossus  of  Rhodes  (Plate) 197 

Berain  Panels,  Two 271 

I The  Boy  Gardener  (Plate) 271 

II  The  Boy  Actor 271 

Coriolanus  Series,  The 198 

I Cominius  Crowning  Caius  Marcius  and  Naming 

Him  Coriolanus 199 

II  Coriolanus  Summoned  Before  the  Tribunes  . . . 199 

III  Coriolanus  Condemned  to  Perpetual  Banishment  . 199 

IV  Coriolanus  Bidding  Farewell  to  His  Mother,  Wife  and 

Children  (Plate) 200 

V Assassination  of  Coriolanus 199 


343 


Concert  by  tbe  God  Pan  (Plate) 226 

Entry  of Alexander  into  Babylon,  Tbe . A Fragment  of  (Plate)  236 

Gypsies,  Tbe  (Plate) 265 

Jacob  and  Laban  (Plate) 254 

Louis  XV  Portieres,  Two 292 

I  Garden  Scene  (Plate) 292 

II  Maid  and  Satyr 292 

Marine  and  Harbor  View,  A (Plate) 297 

Months  of  Lucas 242 

I  May  Day  Sports — May  (Plate) 244 

II  Sbeep  Shearing  Scene— June 243 

III  Luncb  and  Vintage  Scene — October 243 

Mythological  Scenes,  Two 276 

I  Venus  Attended  by  Sea  Nymphs  (Plate)  ....  276 

II  Jupiter  and  Juno  Witnessing  tbe  Marriage  of  Cupid 

and  Psyche 276 

Mythological  Subjects,  Two 259 

I Searching  for  Hidden  Treasure  (Plate)  . . . . 259 

II  Apollo  and  tbe  Muses 259 

Pastoral  Scenes 280 

I Sportsman  Shooting  Birds 280 

II  Tbe  Watering  Trough 281 

III  Tbe  Huntsman 281 

IV  Chasing  tbe  Wild  Boar  (Plate) 282 

V Resting  by  tbe  Brook 28 1 

VI  Garden  Scene  (Plate) 287 

Recruiting  Officer,  Tbe  (Plate) 249 

Rinaldo  and  Armida  Panel  (Plate) 214 

Rinaldo  and  Armida  Series,  The 203 

I Armida  Bears  Rinaldo  Away  in  Her  Arms  . . . 205 

II  Armida  Carries  Rinaldo  to  Her  Enchanted  Car  . . 205 

III  Carlo  and  Ubaldo  at  tbe  Fountain  of  Laughter  (Plate)  208 

IV  Rinaldo  in  tbe  Garden  of  Axmida’s  Palace  (Plate)  . 213 

V Rinaldo  Sees  His  Image  Upon  tbe  Diamond  Shield  . 205 

VI  Rinaldo  Sails  Away  from  tbe  Magic  Island  . . . 206 

VII  Armida  Leaves  tbe  Magic  Island 206 


344 


VIII  Armida  Invoking  the  Powers  of  Magic  ....  206 

IX  Armida  Fleeing  from  the  Field  of  Battle  ....  206 

X Rinaldo  Preventing  the  Suicide  of  Armida  . . . 206 

Rinaldo  in  the  Garden  of  Armida  (Plate) 266 

Royal  Aubusson  Panels,  Four 288 

I  A Chinese  Garden  288 

II  Flowers  and  Leaves  with  Pagoda  and  Bridge  (Plate)  288 

III  A Rope  of  Leaves  and  Flowers  and  Small  Pagoda 

(Plate) 288 

IV  Leaves  with  Large  Bird  and  Distant  Pagoda  . . . 291 

Sleeping  Endymion,  The  (Plate) 241 

Toilet  of  Venus,  The  (Plate) 260 

Triumphal  March  of  Charles  V (Plate) 250 

ITALIAN  TAPESTRIES 

Apollo  Series,  The 310 

I  Latona  with  Her  Children,  Apollo  and  Diana  . . 310 

II  Daphne  Flying  from  Apollo  (Plate) 312 

III  Apollo  Guarding  the  Herd  of  Laomedon  . . . . 310 

IV  Apollo  and  the  Nine  Muses 310 

V Apollo  and  Attendants  Flaying  Marsyas  . . . . 310 

Constantine  The  Great 324 

I  Constantine  Slaying  a Lion 325 

II  Constantine  Contemplating  the  Flaming  Cross  in  the 

Shy 325 

III  Constantine  Destroying  Idols  and  Replacing  Them 

with  Christian  Statues 325 

IV  Naval  Battle  Between  the  Fleets  of  Constantine  and 

Licinius  (Plate) 326 

V Constantine  Burning  the  Creed  of  the  Aryans  at  NL 

caea 325 

VI  Constantine  Superintending  the  Construction  of  Con* 

stan tinople  (Plate) 330 

Dido  and  Aeneas  Series,  The 315 

I Interview  Between  Venus  and  Aeneas  . . . . 317 

II  Cupid  in  the  Guise  of  Ascanius  Presenting  the  Gifts 

of  Aeneas  to  Dido  (Plate) 318 


345 


III  Dido  Sacrificing  to  Juno  (Plate) 323 

IV  Dido  Showing  Aeneas  Plans  for  the  Fortifications  of 

Carthage 317 

V Dido  and  Aeneas  Pursued  hy  Cupid  and  Hymen 

Seeking  Shelter  from  the  Storm 317 

VI  Mercury  Notifying  Aeneas  that  Jupiter  Commands 

Him  to  Leave  Carthage 317 

VII  Parting  of  Dido  and  Aeneas 317 

VIII  Death  of  Dido 317 

Life  of  Christ  Series,  The 301 

I  The  Annunciation 303 

II  Adoration  of  the  Shepherds 303 

III  Adoration  of  the  Magi 303 

IV  The  Flight  into  Egypt,  with  the  Inscription  Aegyptus 

Santificata 303 

V The  Baptism  of  Christ 303 

VI  The  Transfiguration 303 

VII  The  Last  Supper  (Plate) 304 

VIII  The  Mount  of  Olives  (The  Passion) 303 

IX  The  Crucifixion 303 

X The  Resurrection 303 

XI  Giving  the  Keys  to  St.  Peter 303 

XII  Map  of  the  Holy  Land  (Plate) 309 

V enus  and  Aeneas  Series 334 

I  Jupiter  Appearing  Before  Venus  (Plate)  ....  334 

II  Venus  Escorting  Aeneas  from  Troy 337 

III  Departure  of  Aeneas  from  Carthage 337 


346 


TWO  HUNDRED  AND  FIFTY  COPIES 
OF  THIS  BOOK  PRIVATELY  PRINTED 
BY  FREDERIC  FAIRCHILD  SHERMAN 

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